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KE IT, 



B0ITED BY 



VL J. ROLFB. 



LIBRARY OF CONGRESS 



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COPYRIGHT DEPOSm 



SHAKESPEARE'S COMEDY 

OF 

AS YOU LIKE IT 



SHAKESPEARE'S 



COMEDY OF 



AS YOU LIKE IT. 



Edited, with Notes, 



WILLIAM J. ROLFE, Litt.D., 

FORMERLY HHAD MASTER OF THE HIGH SCHOOL, CAMHRIDGE, MASS. 



IVITH ENGRAVINGS. 




NEW YORK .:• CINCINNATI •:• CHICAGO 

AMERICAN BOOK COMPANY 













Iwu Oopies dectiivej 




JUL 25 1905 




Oouyriiffii entry 








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UOPY U. 






L— — \ 


ENGLISH CLASSICS. 


Edited by WM. J. ROLFE, Litt. D. 


Illustrated. 


12mo, Cloth, 56 cents per volume. 




Shakespeare's Wor 


1 


The Merchant of Venice. 


Richard III. 


Othello. 


Henry VII L 


Julius Csesar. 


King Lear. 


A Midsummer-Night's Dream. 


The Taming of the Shrew. 
All -s Well that Ends Well. 


Macbeth. 


Hamlet. 


Conolanus. 


Much Ado about Nothing. 


The Comedy of Errors. 


Romeo and Juliet. 


Cymbeline. 


As You Like It. 


Antony and Cleopatra. 


rhe Tempest. 


Measure for Measure. 


Twelfth Night. 
The Winter's Tale. 


Merry Wives of Windsor. 


Love's Labour 's Lost. 


King John. 


Two Gentlemen of Verona. 


Richard II. 


Timon of Athens. 


Henry IV. Part I. 


Troilus and Cressida. 


Henry IV. Part II. 


Pericles, Prince of Tyre. 


Henry V. 


The Two Noble Kinsmen. 


Henry VI. Parti. 


Venus and Adonis, Lucrece, etc. 


Henry VI. Part 11. 


Sonnets. 


Henry VI. Part III. 


Titus Andronicus. 


Goldsmith's Select Poems. Browning's Select Poems. 


Gray's Select Poems. Browning's Select Dramas. 


Minor Poems of John Milton. Macaulay's Lays of Ancient Rome. 


Wordsworth's Select Poems. 


Lambs' Tales from Shakespeare's Comedies. 


Lambs' Tales from Shakespeare's Tragedies. 


Edited by WM. J. ROLFE, Litt. D. 


Illustrated. Cloth, 12mo, 50 cents per volume. 



Copyright, 1877 and 1898, by Harper & Brothers. 
Copyright, 1905, by William J. Rolfe. 



As You Like It. 
W. P. 6 



CONTENTS. 



iAGE 

Introduction to As You Like It \ 9 

I. The History of the Play 9 

II. The Sources of the Plot 1 1 

HI. Critical Comments on the Play 1 1 

AS YOU LIKE IT 27 

Act 1 29 

" 11 48 

"III 66 

" IV 89 

" V ^ 102 

Notes 117 




THE FOREST OF ARDEN. 



INTRODUCTION 



AS YOU LIKE IT. 



I. THE HISTORY OF THE PLAY. 

As You Like It was first printed, so far as we know, in the 
folio of 1623, where it occupies pages 185-207 in the division 
of "Comedies." The earliest notice of it by name is found 
in the Registers of the Stationers' Company, on a leaf which 
does not belong to the regular records, but contains miscel- 



lO AS VOC/ LIKE /?: 

laneous entries, notes, etc. Between two of these, the one 
dated in May, 1600, and the other in June, 1603, occurs 
the following memorandum :* 

4. August! 
As you like yt / a booke 
Henry the ffift / a booke 

Euery man in his humour / a booke J- to be staled. 

The commedie of muche A doo about nothing 

a booke / 

All these "books" are stated to be "my lord chamberlens 
menns plaies," which confirms Malone's opinion that the en- 
try refers to the year 1600. Henry V. and Much Ado About 
Nothing ^Qxe duly licensed (the former on the 14th and the 
latter on the 23d of August) and published that year ; and 
it is not likely that the plays would have been " staled " after 
the publication of two of them. The prohibition was prob- 
ably removed soon after it was recorded ; and, as Halliwell 
suggests, the clerk may not have considered it worth the 
formality of a note in the body of the register. 

On the other hand. As You Like It is not mentioned by 
Meres in his enumeration of Shakespeare's plays f in Pal- 
ladis Tamia^ which was published in September, 1598 ; and 
it contains a quotation (see iii. 5. 80) from Marlowe's Hero 
and Leander, the earliest known edition of which appeared in 
the same year. It may therefore be reasonably concluded, 

* We print this as Wright gives it. In Halliwell's folio ed. it appears 
thus: 

4 August!. 

As you like yt, a book. Henry the ffift, a book. Every man j 
in his humor, a book. The Commedie of Much Adoo about nothinge, J To be staled, 
a book. ) 

Collier gives it tv^rice (in the introductions to Muck Ado and A. K Z.), 
but the versions do not agree with each other or with either of the above. 
The matter is of little importance, and we refer to it only as illustrating 
one of the minor trials of an editor who cannot refer to original docu- 
ments, but has to depend on copies made by others. 

t See the passage in our ed. of M. N. D. p. 9. 



INTRODUCTION. 1 1 

as nearly all the commentators agree, that As You Like It 
was written between September, 1598, and August, 1600; 
probably in the year 1599. 

II. THE SOURCES OF THE PLOT. 

' Shakespeare was chiefly indebted for the story of the play 
to a novel by Thomas Lodge, published in 1590 under the 
title of " Rosalynde, Euphues Golden Legacie, found after 
his death in his Cell at Silexedra, bequeathed to Philautus 
sonnes noursed up with their father in England, Fetcht from 
the Canaries by T. L., gent., Imprinted by T. Orwin for T. G. 
and John Busbie, 1590."* This book was reprinted in 1592, 
and eight editions are known to .have appeared before 1643. 
How closely the poet followed the novel may be seen by the 
extracts from the latter printed in our Notes below. 

We may add here that Lodge took some of the main in- 
cidents of his novel from The Cokes Tale of Gameiyn, which 
is found in a few of the later manuscripts of the Canterbury 
Tales of Chaucer, but which the best editors of that poet 
believe to be the production of another writer. 

III. CRITICAL COMMENTS ON THE PLAY. 
[From Hazlitfs ^''Characters of Shakespear's Plays.^''\'\ 
Shakespear has here converted the forest of Arden into 
another Arcadia, where they " fleet the time carelessly, as 
they did in the golden world." It is the most ideal of any 
of this author's plays. It is a pastoral drama, in which the 
interest arises more out of the sentiments and characters 
than out of the actions or situations. It is not what is done, 
but what is said, that claims our attention. Nursed in soli- 
tude, "under the shade of melancholy boughs," the imagina- 
tion grows soft and delicate, and the wit runs riot in idleness, 

* Possibly the poet used a lost play based upon the novel. 
t Characters of Shakspear's Plays, by William Hazlitt (London, 181 7), 
p. 305 fol. 



X2 AS YOU LIKE IT. 

like a spoiled child that is never sent to school. Caprice 
and fancy reign and revel here, and stern necessity is ban- 
ished to the court. The mild sentiments of humanity are 
strengthened with thought and leisure ; the echo of the cares 
and noise of the world strikes upon the ear of those " who 
have felt them knowingly," softened by time and distance. 
"They hear the tumult, and are still." The very air of the 
place seems to breathe a spirit of philosophical poetry ; to 
stir the thoughts, to touch the heart with pity, as the drowsy 
forest rustles to the sighing gale. Never was there such 
beautiful moralizing, equally free from pedantry or petu- 
lance : 

" And this our life, exempt from public haunt, 
Finds tongues in trees, books in the running brooks. 
Sermons in stones, and good in everything." 

There is hardly any of Shakespear's plays that contains a 
greater number of passages that have been quoted in books 
of extracts, or a greater number of phrases that have become 
in a manner proverbial. If we were to give all the striking 
passages, we should give half the play. We will only recall 
a few of the most delightful to the reader's recollection. 
Such are the meeting between Orlando and Adam ; the ex- 
quisite appeal of Orlando to the humanity of the Duke and 
his company to supply him with food for the old man, and 
their answer ; the Duke's description of a country life, and 
the account of Jaques moralizing on the wounded deer; his 
meeting with Touchstone in the forest, his apology for his 
own melancholy and his satirical vein, and the well-known 
speech on the stages of human life; the old song of "Blow, 
blow, thou winter's wind;" Rosalind's description of the 
marks of a lover, and of the progress of time with different 
persons ; the picture of the snake wreathed around Oliver's 
body while the lioness watches her sleeping prey ; Touch- 
stone's lecture to the shepherd, his defence of cuckolds, and 
panegyric on the virtues of "an If" All of these are familiar 



INTRODUCTION. 



13 



to the reader : there is one passage of equal delicacy and 
beauty which may have escaped him, and with it we shall 
close our account of As You Like It. It is Phebe's descrip- 
tion of Ganymede, at the end of the third act : "Think not 
I love him, though I ask for him," etc. [iii. 5. 108-128]. 

{From Verplanck's Introduction to the Flay.*'] 
This comedy, at once romantic, philosophical, and pictur- 
esque, is in its way one of its author's most peculiar and 
original works — original, indeed, in everything but the rough 
materials of the story, and peculiar in all its poetic and 
dramatic characteristics. In addition to the interest it de- 
rives from its varied beauties, it has also that of belonging 
to a remarkable epoch of Shakespeare's intellectual life — 
that of the perfection of his art and taste in that especial 
walk of poetical comedy of which he had been the inventor, 
and which was the chief occupation of his genius from the 
beginning of his career of dramatic authorship, during the 
brilliant and crowded years of his youth and ripening man- 
hood, until he approached middle life. When he entered 
upon that dramatic career, he found English tragedy not 
such certainly as he afterwards made it, in depth of passion 
or in moral truth, yet fully formed as a part of the national 
literature, and possessing many productions of great though 
unequal merits. Even the tragedies of the preceding gen- 
eration had their share of bold and true conception mixed 
with their extravagance, and (as Sir Philip Sidney, the stern 
censurer of their defects, allowed) " were full of stately 
speeches and well-sounding phrases ;" while Shakespeare's 
immediate dramatic predecessors. Peel and Kyd and Greene, 
were fertile in glowing imagery and invention, and Marlowe 
had clothed much magnificence of thought and declamatory 
passion in that flowing and " mighty line " so much admired 

* The Illustrated Shakespeare, edited by G. C. Verplanck (New York 
1847), vol. ii. p. 5 of A. Y. L. 



14 AS VOC/ LIKE IT. 

by his contemporaries. Shakespeare did not shrink from 
measuring his strength with these dramatists at an early 
period, and — not to speak of Pericles, or more doubtful 
pieces — gave the bright promise of his future glories in his 
first form of Romeo and yidiet, and probably of Hamlet, as 
well as in the heroic scenes of several of his historical 
dramas. But these appear to have been the occasional 
employment of his genius, when excited by some congenial 
theme ; while he discovered before him a wide province of 
poetic art and invention unoccupied by any predecessor, and 
open to his sway. The comedy of the English stage, so far 
as the drama could be said to have assumed that form at 
all, was but a coarse farce, having no higher or other object 
in view than " to set on some quantity of barren spectators 
to laugh." Shakespeare seems, at the very first, to have 
formed to himself a different conception of the object and 
character of the poetic comedy. Even in his first regular 
effort, the Two Gentlemen of Verona, he embodied his leading 
idea as distinctly as in after-works of far more exquisite ex- 
ecution. Of all genuine comedy, the delineation and ex- 
hibition of character must be the foundation; but the pecul- 
iarity of Shakespeare is that he does this not merely in the 
spirit of the satirist, or the faithful painter of humorous ab- 
surdity, but constantly entwines and contrasts the whole 
with the most refined forms of grace and beauty, with the 
poetry of fancy, of sentiment, and even of moral meditation. 
Upon this new and rich field of invention he entered with 
the ardour and high relish of youth ; so that, between the 
year 1584 and 1602, he had given to our language thirteen 
dramatic productions, original in their very conception and 
character, as combining exquisite truth of character and 
scenes of the wildest drollery with romantic grace and every 
form of purely poetic fancy. I include in these productions, 
together with his comedies written within the above dates, 
the two parts of Henry IV. and Henry V., as stamped with 



INTRODUCTION. 15 

the same characteristics ; the poetry of high heroic song 
there supplying the same effect of contrast to the mirthful 
that results from the poetry of the gentler passions and the 
pure fancy in his professed comedies. The whole of these 
were without any model in any preceding literature, as they 
are without equals in that of any other age or nation. It is 
worthy of observation that the only work of humour, in which 
he neglected this principle of contrast, was the Merry Wives 
of Windsor^ in its earlier form ; and that he considered ii of 
so much importance to the effect of even such a pure ex- 
hibition of contemporary English life, in its most domestic 
aspect, that in his revision of the play he rejected the con- 
cluding very pleasant and appropriate scene, to substitute 
some fragments of a pure chivalric and legendary poetry. 
For the same purpose of enabling himself thus to associate, 
in one mixed impression upon his audience, the higher 
graces of imagination with laugh-provoking images and in- 
cidents, he generally selected such scenes of action and 
periods of time as might be associated with legendary and 
romantic recollections, instead of painting the men and 
women of his country and times in their every-day costume. 

In separately analyzing his comedies, it is very perceptible 
how, in each new effort, the work became more peculiarly 
conformed to that pervading idea of poetic comedy, while 
the execution became more perfect in itself, and more free 
from whatever he had imbibed merely from the taste of the 
age or the writings of contemporaries. In his first comedies, 
we find the humour verging to farce, and contrasted chiefly 
with the dialogue of artificial though often sparkling wit j 
and when these are relieved, as they so frequently are, by 
purer poetry, these beauties are rather those of the masque, 
the sonnet, or the pastoral, then belonging to dramatic per- 
sonation of life. 

These characteristics, as well as the rhyming dialogues, 
were thrown aside more and more in the Poet's progress, 



1 6 AS YOU LIKE IT. 

while a graver and, at times, a more didactic morality gradu- 
ally mingled itself with the luxuriant sweetness of his verse, 
and the revelling jollity of his prose scenes ; and at the same 
time his wider intercourse with varied society is attested by 
the boldness and freedom with which he marks and individ- 
ualizes the personages who throng with such infinite variety 
through his crowded and living scenes. 

To the close of this progressive creation of the peculiarly 
Shakespearian, or poetic and romantic comedy, during the 
brilliant summer of the author's youth, and to the era of the 
perfection of his style, As You Like It belongs — a period of 
the author's intellectual history which was soon to end with 
the Twelfth Night ; after which graver thoughts took fuller 
possession of his mind, and he turned away from the more 
brilliant aspect of the world and the playful exposure of 
its follies and frailties, to deal with man's sufferings and 
crimes, his darker and sterner emotions — mox in reluctantes 
dracones. . . . 

The prevailing characteristic of this comedy has been 
noted by Mr. Hallam, with his usual philosophical discrim- 
ination; and it corresponds well with the period of the au- 
thor's rapidly evolving genius, as marked by other evidence. 
"In no other play do we find the bright imagination and 
fascinating grace of Shakespeare's youth so mingled with 
the thoughtfulness of his maturer age." . . . Equally original 
in its poetical character with the Midsu7nmer-Nighf s Dream 
and The Tempest, it differs from both in this — that they are 
founded on the fanciful mingling of the supernatural with 
the natural, while here all is human and natural, and yet 
throughout it is idealized truth. The time and place and 
manners are thrown out of the definite into the undefined 
time and region, where and when the heroes and ladies of 
chivalric poetry were wont to "fleet the time carelessly as 
they did in the golden world." Charles Lamb used to call 
Lovers Labour^ s Lost the " Comedy of Leisure," because its 



INTRODUCTION. 17 

personages not only "led purely ornamental lives" but were 
well content to do so, and, having nothing to do, did it agree- 
ably. He might have given the title in a higher sense to 
As You Like It^ where the pervading feeling is that of a re- 
fined and tasteful, yet simple and unaffected throwing off 
the stiff " lendings " of artificial society ; and this is done by 
those who had worn those trappings with ease and grace. 
The humour too is toned down to suit the general impres- 
sion, being odd, fanciful, gay, and whimsical, without much 
connection with the more substantial absurdities of the real 
" work-day world." As You Like It is less magnificent than 
the Merchant of Venice^ which had not long preceded it, and 
less exhilarating than the Twelfth Nighty which soon followed 
it ; and yet it keeps up and leaves a more uniformly pleas- 
urable impression than either. 

[From Mrs. Jameson^ s " Characteristics of Women.'''' *] 
Rosalind is like a compound of essences, so volatile in 
their nature, and so exquisitely blended, that on any attempt 
to analyze them, they seem to escape us. To what else shall 
we com,pare her, all-enchanting as she is? — to the silvery sum- 
mer clouds which, even while we gaze on them, shift their 
hues and forms, dissolving into air, and light, and rainbow 
showers ? — to the May-morning, flush with opening blossoms 
and roseate dews, and " charm of earliest birds ?" — to some 
wild and beautiful melody, such as some shepherd-boy might 
"pipe to Amaryllis in the shade?" — to a mountain streamlet, 
now smooth as a mirror in which the skies may glass them- 
selves, and anon leaping and sparkling in the sunshine — or 
rather to the very sunshine itself? for so her genial spirit 
touches into life and beauty whatever it shines on ! . . . 

Everything about Rosalind breathes of "youth and youth's 
sweet prime." She is fresh as the morning, sweet as the 
dew-awakened blossoms, and light as the breeze that plays 
* American ed. (Boston, 1857), p. no fol. 

B 



1 8 AS YOU- LIKE IT. 

among them. She is as witty, as voluble, as sprightly as 
Beatrice; but in a style altogether distinct. In both, the wit 
is equally unconscious ; but in Beatrice it plays about us like 
the lightning, dazzling but also alarming; while the wit of 
Rosalind bubbles up and sparkles like the living fountain, 
refreshing all around. Her volubility is like the bird's song; 
it is the outpouring of a heart filled to overflowing with life, 
love, and joy, and all sweet and affectionate impulses. She 
has as much tenderness as mirth, and in her most petulant 
raillery there is a touch of softness — " By this hand, it will 
not hurt a fly !" As her vivacity never lessens our impres- 
sion of her sensibility, so she wears her masculine attire 
without the slightest impugnment of her delicacy. . . . Rosa- 
lind has in truth " no doublet and hose in her disposition." 
How her heart seems to throb and flutter under her page's 
vest ! What depth of love in her passion for Orlando ! 
whether disguised beneath a saucy playfulness, or breaking 
forth with a fond impatience, or half betrayed in that beau- 
tiful scene where she faints at the sight of his 'kerchief 
stained with his blood ! Here her recovery of her self- 
possession — her fears lest she should have revealed her sex 
— her presence of mind, and quick-witted excuse — 

" I pray you, tell your brother how well I counterfeited " — 

and the characteristic playfulness which seems to return 
so naturally with her recovered senses — are all as amusing 
as consistent. Then how beautifully is the dialogue man- 
aged between herself and Orlando! how well she assumes 
the airs of a saucy page, without throwing ofl" her feminine 
sweetness ! How her wit flutters free as air over every sub- 
ject ! With what a careless grace, yet with what exquisite 
propriety ! 

" For innocence hath a privilege in her 
To dignify arch jests and laughing eyes." 

And if the freedom of some of the expressions used by 



INTRODUCTION. 19 

Rosalind or Beatrice be objected to, let it be remembered 
that this was not the fault of Shakspeare or the women, 
but generally of the age. Portia, Beatrice, Rosalind, and 
the rest lived in times when more importance was attached 
to things than to words ; now we think more of words than 
of things; and happy are we in these later days of super- 
refinement, if we are to be saved by our verbal morality. 
But this is meddling with the, province of the melancholy 
Jaques, and our argument is Rosalind. . . . 

Rosalind has not the impressive eloquence of Portia, nor 
the sweet wisdom of Isabella. Her longest speeches are 
not her best; nor is her taunting address to Phebe, beautiful 
and celebrated as it is, equal to Phebe's own description of 
her. The latter, indeed, is more in earnest.* 

Celia is more quiet and retired : but she rather yields to 
Rosalind than is eclipsed by her. She is as full of sweet- 
ness, kindness, and intelligence, quite as susceptible, and 
almost as witty, though she makes less display of wit. She 
is described as less fair and less gifted; yet the attempt 
to excite in her mind a jealousy of her lovelier friend, by 
placing them in comparison — 

" Thou art a fool ; she robs thee of thy name ; 
And thou wilt show more bright, and seem more virtuous. 
When she is gone " — 

fails to awaken in the generous heart of Celia any other 
feeling than an increased tenderness and sympathy for her 
cousin. To Celia, Shakspeare has given some of the most 
striking and animated parts of the dialogue ; and in particu- 

* Rousseau could describe such a character as Rosalind, but failed 
to represent it consistently; "N'est-ce pas de ton coeur que viennent 
les graces de ton enjouement? Tes railleries sont des signes d'interet 
plus touchants que les compliments d'un autre. Tu caresses quand tu 
folatres. Tu ris, mais ton rire penetre I'ame ; tu ris, mais tu fais pleurer 
de tendresse, et je te vols presque toujours serieuse avec les indifferents" 
{Heloise), 



20 AS YOU LIKE IT. 

Jar, that exquisite description of the friendship between he* 

and Rosalind — 

" If she be a traitor, 
Why, so am I ; we have still slept together, 
Rose at an instant, learn'd, play'd, eat together, 
And wheresoe'er we went, like Juno's swans, 
Still we were coupled and inseparable." 

The feeling of interest and admiration thus excited for 
Celia at the first follows her through the whole play. We 
listen to her as to one who has made herself worthy of our 
love ; and her silence expresses more than eloquence. 

Phebe is quite an Arcadian coquette; she is a piece of 
pastoral poetry. Audrey is only rustic. A very amusing 
effect is produced by the contrast between the frank and 
free bearing of the two princesses in disguise, and the scorn 
ful airs of the real shepherdess. In the speeches of Phebe, 
and in the dialogue between her and Sylvius, Shakspeare 
has anticipated all the beauties of the Italian pastoral, and 
surpassed Tasso and Guarini. We find two among the most 
poetical passages of the play appropriated to Phebe: the 
taunting speech to Sylvius, and the description of Rosalind 
in her page's costume — which last is finer than the portrait 
of Bathyllus in Anacreon. 

[^From Dowden's " Shaksperey *] 
Shakspere, when he had completed his English historical 
plays, needed rest for his imagination ; and in such a mood, 
craving refreshment and recreation, he wrote his play of 
As You Like It. To understand the spirit of this play, we 
must bear in mind that it was written immediately after 
Shakspere's great series of histories, ending with Henry V. 
(1599), and before he began the great series of tragedies. 
Shakspere turned with a sense of relief, and a long easeful 

* Shakspere: a Critical Study of his Mind and Art, by E(iward Dowden 
(3d ed. London, 1376), p. 76 fol. (by permission}. 



INTRODUCTION. 21 

sigh, from the oppressive subjects of history, so grave, so 
real, so massive, and found rest and freedom and pleasure 
in escape from courts and camps to the Forest of Arden : 

" Who doth ambition shun, 
And loves to live i' the sun, 
Come hither, come hither, come hither." 

In somewhat the same spirit, needing relief for an over- 
strained imagination, he wrote his other pastoral drama. 
The Winter's Tale, immediately or almost immediately after 
Timo7i of Athens. In each case he chose a graceful story in 
great part made ready to his hand, from among the prose 
writings of his early contemporaries, Thomas Lodge and 
Robert Greene. Like the banished Duke, Shakspere him- 
self found the forest-life of Arden more sweet than that of 
painted pomp; a life "exempt from public haunt," in a quiet 
retreat, where for turbulent citizens the deer, " poor dappled 
fools," are the only native burghers. . . . 

Upon the whole, As You Like It is the sweetest and hap- 
piest of all Shakspere's comedies. No one suffers; no one 
lives an eager intense life; there is no tragic interest in it 
as there is in The Merchant of Venice^ as there is in Much 
Ado About Nothing. It is mirthful, but the mirth is sprightly, 
graceful, exquisite ; there is none of the rollicking fun of a 
Sir Toby here ; the songs are not " coziers' catches " shout- 
ed in the night-time, " without any mitigation or remorse of 
voice," but the solos and duets of pages in the wild-wood, or 
the noisier chorus of foresters. The wit of Touchstone is 
not mere clownage, nor has it any indirect serious signifi- 
cances; it is a dainty kind of absurdity worthy to hold com- 
parison with the melancholy of Jaques. And Orlando in the 

beauty and strength of early manhood, and Rosalind 

"A gallant curtle-axe upon her thigh, 
A boar-spear in her hand," 

and the bright, tender, loyal womanhood within — are figures 
which quicken and restore our spirits, as music does, which 



22 AS YOU LIKE IT. 

is neither noisy nor superficial, and yet which knows little 
of the deep passion and sorrow of the world. 

Shakspere, when he wrote this idyllic play, was himself in 
his Forest of Arden. He had ended one great ambition — 
the historical plays — and not yet commenced his tragedies. 
It was a resting-place. He sends his imagination into the 
woods to find repose. Instead of the court and camps of 
England, and the embatded plains of France, here was this 
woodland scene, where the palm-tree, the lioness, and the 
serpent are to be found, possessed of a flora and a fauna 
that flourish in spite of physical geographers. There is an 
open-air feeling throughout the play. The dialogue, as has 
been observed, catches freedom and freshness from the at- 
mosphere. " Never is the scene within-doors, except when 
something discordant is introduced to heighten as it were 
the harmony."* After the trumpet-tones oi Henry V. comes 
the sweet pastoral strain, so bright, so tender. Must it not 
all be in keeping ? »Shakspere was not trying to control his 
melancholy. When he needed to do that, Shakspere con- 
fronted his melancholy very passionately, and looked it full 
in the face. Here he needed refreshment, a sunlight tem- 
pered by forest-boughs, a breeze upon his forehead, a stream 
murmuring in his ears, f 

* C. A. Brown : Shakespeare' s Autobiographical Poems, p. 283. 

t Hebler {Aufsdtze iiber Shakespeare, p. 195) writes of As You Like It: 
*' Es ist eine Waldcur fur Hofleute, die zum Gliick mit heutigen Bad- 
oder Luftcuren das gemein hat, dass viele Gesunde dabei sind. So vor 
Allen Orlando und Rosalinde, fiir welche beide die Cur keine andere 
Bedeutung hat als ihre Liebe auf die Heblichste Weise zur Erscheinung 
Dnd Reife zu bringen, wahrend das voriibergehend Bedenkliche ihrer 
Lage den Alles, selbst die Liebe noch, verschonenden Gotterfunken des 
Humors hervorlockt. Daneben der Contrast der blossen lieben Natur in 
dem Schaferpaarchen, und die heitere Parodie des idyllischen Hoflebens 
in der Heirath des Narren mit einem Landmadchen, wahrend der Blasirte 
(Jaques) auch der frischesten Natur seine eigene Farbe ankrankelt," 



INTRODUCTION. 23 

\From Mr, F. J. FurtiivalVs Introduction to the Play*\ 

"The sweetest and happiest of Shakspere's comedies," 
says Professor Dowden. Yes, sweetest, because the sweet- 
ness has been drawn from the bitters of life : happiest, be- 
cause the happiness has sprung from, has overcome, sorrow 
and suffering. What most we prize is misfortune borne with 
cheery mind, the sun of man's spirit shining through and 
dispersing the clouds that strive to shade it.f And surely 
this is the spirit of the play. The play goes back, too, to 
the old Robin Hood spirit of England, to that same love of 
country and of forest and of adventure which still sends our 
men all over the world, and empties yearly our women out 
of town : 

"They say he is already in the forest of Arden, and a many merry 
men with him ; and there they live like the old Robin Hood of England : 
they say, many young gentlemen flock to him every day, and fleet the 
time carelessly, as they did in the golden world ;" 

or, as Orlando puts the other side of it — 
"In this desert inaccessible, 
Under the shade of melancholy boughs, 
Lose and neglect the creeping hours of time." 

* The Leopold Shakspere (London, 1877), p. Ivii (by permission). 
t My friend Dr. Ingleby says on this, *' The moral of the play is much 
more concrete. It is not, how to bear misfortune with cheery mind, but, 
how to read the lessons in the vicissitudes of physical nature'' This is 
what the banisht Duke says as to " the penalty of Adam," and what 
Amiens says in " Blow, blow, thou winter wind !" and " Under the 
greenwood tree." Everywhere it is " in these inclement skies we shall 
feel what we are, but find no enemy. We who have known the insincer- 
ity of flattery, covering ingratitude and backbiting, shall here find frank 
and outspoken friends, who teach us to read the message of cold winds, 
etc. ; and through that, make us believe that all adversity has its uses, 
and, sweet ones." 

** Sweet are the uses of adversity. ..." 

"Happy is your grace, 
That can translate the stubbornnesses of fortune 
Into so quiet and so sweet a style." 



24 ^S you LIKE IT, 

It is true this is not Prosperous task, but Shakspere is in his 
Second Period, not his Fourth. We are out of all wrangle 
of court and struggle of camp, in this forest of enchantment, 
vArden, where lions and palms and serpents grow, where 
ambition is shunnd, and all are pleased with what they get. 
'Tis Chaucer's "Flee fro the pres and dwelle with sooth- 
fastnesse," his "Former Age;" a fancy picture if you will; 
but let us enjoy it while we may. The picture is not painted 
in the same high key of colour as Much Ado. Instead of 
the hot sun of Beatrice's and Benedick's sharp wit-combats, 
with its golden reds and yellows, backt by the dark clouds 
of Hero's terrible distress, we have a picture of greys and 
greens and blues, lit through a soft haze of silvery Vt^hi. 
Rosalind's rippling laugh comes to us from the far-off forest 
glades, and the wedded couples' sweet content reaches us as 
a strain of distant melody. The play stretches backwards 
and forwards as Muck Ado does : back to the First Period, 
Love's Labours Lost. The scene is the Forest of Arden, 
like the King of Navarre's park; the early Stratford wood- 
land life is in both. And in both is the same almost child- 
ish love of the girl tormenting her sweetheart by assuming 
or continuing unnecessary disguises, the lover's writing of 
verses, the hunting, etc. ; the names Rosaline and Rosalind, 
and certain points of likeness between their owners. Miss 
Baillie says, " The way in which Rosalind delights in teasing 
Orlando is essentially womanly. There are many women 
who take unaccountable pleasure in causing pain to those 
they love, for the sake of healing it afterwards." The love 
at first sight is like that in Love's Labours Lost, and Touch- 
stone and Audrey are a far better Armado and Jacquenetta. 
To Midsummer- Nigh fs Dream this play is linkt by its en- 
chanted land, and its pretty picture of Rosalind's and Ce- 
lia's friendship matching that of Helena and Hermia. With 
7he Merchant we get the links of Rosalind's description of 
her dressing as a man, like Portia's (and Julia's in The Two 



INTRODUCTION, 25 

Gentlemen)^ while the melancholy of Jaques reminds us, in 
name, of that of Antonio in The Merchant. Rosalind's de- 
scription of herself as " one out of suits with fortune " suits 
Portia's "My little body is aweary of this great world." 
The reach forward of the play is most interesting in its 
anticipation of the Fourth-Period lesson,* that repentance 
and reconciliation are better than revenge, taught by the 
two instances of Oliver and Duke Frederick ; while in Peri- 
cles we see that Marina is to be killed because she stained 
her friend Cleon's daughter, as Duke Frederick justifies his 
cruelty to, Rosalind because she throws Celia into the shade. 
One cannot also forget the fool here, "who'll go along o'er 
the wide world with Celia," when thinking of Lear's fool, 
who'd never been happy since his young mistress went to 
France. And we may remember, too, Shakspere's quotation 
here from his dead friend Marlowe's Hero and Leander, first 
printed in 1598: 

** Dead shepherd, now I find thy saw of might, 
*Who ever lov'd that lov'd not at first sight?"* 

♦ Mr. Furnivall makes the following classificatioa of Shakespeare*s 
plays and poems :— 

First Period (?i 588-1 594): 
a. The Comedy of Errors or Mistaken -Identity Group: Love'i 

Labours Lost ; The Comedy of Errors ; A Midsummer' Nighi^s 

Dream. 
d. Link-play : The Two Gentlemen of Verona. 
c. The Passion Group: Romeo and Juliet; Venus and Adonis; 

Lucrece, 
d* The Early Histories: Richard II,; I, 2, 3 Henry VI.; Richard 

ILL 
Second Period (? 1595-1601); 

a. The Life-plea Group j a History and Comedy : King John; The 

Merchant of Venice. 
h. A Farce : The Taming of the Shrew. 
i. The three Comedies of Falstaif, with the Trilogy of Ifenry IV. 

and v.: i Ifenry IV.; 2 Henry IV.; The Merry Wives; Henr)i 

V. 



26 AS YOU LIKE IT. 

d. The three Sunny or Sweet-Time Comedies : Much Ado; As You 
Like It; Twelfth Night. 

e. The Darkening Comedy: AlPs Well. 

Third Period ( 1 60 1- 1 608): 

a. The Unfit-Nature or Under-Burden-failing Group : yulius Ccesar 
Hamlet ; Measure for Measure. 

b. The Tempter-yielding Group : Othello; Macbeth. 

£. The First Ingratitude and Cursing Play : King Lear. 

d. The Lust or False-Love Group ; Troilus and Cressida; Antony 

and Cleopatra. 
«. The Second Ingratitude or Cursing Group: Coriolanus; Timon 

of Athens. 

Fourth Period (1609-16 13) : 

All of Re-union, of Reconciliation and Forgiveness: 

a. By Men : Pericles; The Tempest. 

b. By Women (mainly): Cymbeline; The Winter'*s Tale; Henry VIII. 

In this classification Tittis Andronicus is omitted as " not Shak- 
spere's." The Passionate Pilgrim (? 1 589-1 599) and the Sonnets (? 1592- 
1608) are considered separately, the latter having an elaborate classifi- 
cation of their o^n. 

We have not thought it worth while to interfere with Mr. Furnivall's 
orthographical eccentricities ("banisht," "shunnd," and the like), nor 
with his version of the title of Love's Labour's Lost, The folio, by the 
way, gives this last uniformly " Loues Labour's lost " in the title and 
head-lines of the play. In the table of contents it has ^ Loues Labour 
Lost.^'' The title-page of the quarto of 1598, according to several author- 
ities, reads "Loues labors lost." — {Ed.). 




AS YOU LIKE IT. 



DRAMATIS PERSONS. 



Duke, living in banishment. 

Frederick, his brother, and usurper of 
his dominions. 

Amiens, ) lords attending on the banished 

Jaques, i duke. 

Le Beau, a courtier attending upon Fred- 
erick. 

Charles, wrestler to Frederick. 

Oliver, \ 

Jaques, [ sons of Sir Rowland de Boys. 

Orlando, ) 

Adam, \ ^ ^ ^,. 

„ \ servants to Oliver. 

Dennis, ) 

Touchstone, a clown. 



Sir Oliver Martext, a vicar. 

CORIN, ) u u J 

r, > shepherds. 

SiLVIUS,) ^ 

William, a country fellow, in love with 

Audrey. 
A person representing Hymen. 
Rosalind, daughter to the banished duke. 
Celia, daughter to Frederick. 
Phebe, a shepherdess. 
Audrey, a country wench. 

Lords, pages, and attendants, etc. 

Scene ; Oliver^ s house : Duke Frederick'' s 
court: and the Forest of Arden. 




'To liberty, and not to banishment" (i. 3. 136). 



ACT I. 

Scene I, Orchard of Oliver's House. 
Enter Orlando and Adam. 
Orlando. As I remember, Adam, it was upon this fashion 
bequeathed me by will but poor a thousand crowns, and, as 
thou sayest, charged my brother, on his blessing, to breed 
me well j and there begins my sadness. My brother Jaques 
he keeps at school, and report speaks goldenly of his profit: 
for my part, he keeps me rustically at home, or, to speak 
more properly, stays me here at home unkept ; for call you 
that keeping for a gentleman of my birth, that differs not 
from the stalling of an ox? His horses are bred better; 
for, besides that they are fair with their feeding, they are 
taught their manage^ and to that end riders dearly hired: 



so 



AS YOU LIKE IT. 



but I, his brother, gain nothing under him but growth ; for 
the which his animals on his dunghills are as much bound 
to him as I. Besides this nothing that he so plentifully 
gives me, the something that nature gave me his counte- 
nance seems to take from me : he lets me feed with his 
hinds, bars me the place of a brother, and, as much as in 
him lies, mines my gentility with my education. This is it, 
Adam, that grieves me ; and the spirit of my father, which I 
think is within me, begins to mutiny against this servitude. 
I will no longer endure it, though yet I know no wise rem- 
edy how to avoid it. 2a 

Adam. Yonder comes my master, your brother. 

Orlando. Go apart, Adam, and thou shalt hear how he 
will shake me up. 

Enter Oliver. 

Oliver. Now, sir ! what make you here ? 

Orlando. Nothing : I am not taught to malce any thing. 

Oliver. What mar you then, sir t 

Orlando. Marry, sir, I am helping you to mar that which 
God made, a poor unworthy brother of yours, with idle- 
ness. 31 

Oliver, Marry, sir, be better employed, and be naught 
awhile. 

Orlando. Shall I keep your hogs and eat husks with 
them? What prodigal portion have I spent, that I should 
come to such penury ? 

Oliver. Know you where you are, sir ? 

Orlando. O, sir, very well : here in your orchard. 

Oliver. Know you before whom, sir ? 39 

Orlando. Ay, better than him I am before knows me. I 
know you are my eldest brother; and, in the gentle condi- 
tion of blood, you should so know me. The courtesy of 
nations allows you my better, in that you are the first-born ; 
but the same tradition takes not away my blood, were there 



ACT L SCENE I. 



3^ 



twenty brothers betwixt us. I have as much of my father 
in me as you ; albeit, I confess, your coming before me is 
nearer to his reverence. 

Oliver. What, boy ! 

Orla7ido. Come, come, elder brother, you are too young 
■:n this. 50 

Oliver. Wilt thou lay hands on me, villain? 

Orlando. I am no villain ; I am the youngest son of Sir 
Rowland de Boys : he was my father, and he is thrice a vil- 
lain that says such a father begot villains. Wert thou not 
my brother, I would not take this hand from thy throat till 
this other had pulled out thy tongue for saying so: thou 
hast railed on thyself 

Adam. Sweet masters, be patient : for your father's re- 
membrance, be at accord. 

Oliver. Let me go, I say. 60 

Orlando. I will not, till I please : you shall hear me. My 
father charged you in his will to give me good education: 
you have trained me like a peasant, obscuring and hiding 
from me all gentleman-like qualities. The spirit of my 
father grows strong in me, and I will no longer endure it: 
therefore allow m.e such exercises as may become a gen- 
tleman, or give me the poor allottery my father left me 
by testament ; with that I will go buy my fortunes. 

Oliver. And what wilt thou do? beg, when that is spent? 
Well, sir, get you in : I will not long be troubled with you ; 
you shall have some part of your will : I pray you, leave 
me. 72 

Orlando. I will no further offend you than becomes me 
for my good. 

Oliver. Get you with him, you old dog. 

Adam. Is ' old dog ' my reward ? Most true, I have lost 
my teeth in your service. — God be with my old master I 
he would not have spoke such a word. 

\Exeunt Orlando and Adam. 



32 AS ¥01/ LIKE IT. 

Oliver. Is it even so? begin you to grow upon me? 1 
will physic your rankness, and yet give no thousand crowns 
neither.- — Holla, Dennis ! Si 

Enter Dennis. 

Dennis. Calls your worship ? 

Oliver. Was not Charles, the duke's wrestler, here to 
speak with me ? 

Dennis. So please you, he is here at the door and im- 
portunes access to you. 

Oliver. Call him in. \Exit Dennis^ 'T will be a good 
way; and to-morrow the wrestling is. 

Enter Charles. 

Charles. Good morrow to your worship. 

Oliver. Good Monsieur Charles, what 's the new news at 
the new court ? 91 

Charles. There 's no news at the court, sir, but the old 
news : that is, the old duke is banished by his younger 
brother the new duke ; and three or four loving lords have 
put themselves into voluntary exile with him, whose lands 
and revenues enrich the new duke ; therefore he gives them 
good leave to wander, f - 

Oliver. Can you tell if Rosalind, the duke's daughter, be 
banished with her father? 99 

Charles. O, no; for the duke's daughter, her cousin, so 
loves her, being ever from their cradles bred together, that 
she would have followed her exile, or have died to stay be- 
hind her. She is at the court, and no less beloved of her 
uncle than his own daughter ; and never two ladies loved as 
they do. 

Oliver. Where will the old duke live ? 

Charles. They say he is already in the forest of Arden, 
and a many merry men with him; and there they live like 
the old Robin Hood of England. They say many young 



ACT I. SCENE L ^^^ 

gentlemen flock to him every day, and fleet the time care- 
lessly, as they did in the golden world. m 

Oliver. What, you wrestle to-morrow before the new duke? 

Charles, Marry, do I, sir; and I came to acquaint you 
with a matter. I am given, sir, secretly to understand that 
your younger brother Orlando hath a disposition to come in 
disguised against me to try a fall. To-morrow, sir, I wrestle 
for my credit ; and he that escapes me without some broken 
limb shall acquit him well. Your brother is but young and 
tender j and, for your love, I would be loath to foil him, as 
I must, for my own honour, if he come in : therefore, out of 
my love to you, I came hither to acquaint you withal, that 
either you might stay him from his iiitendment or brook 
such disgrace well as he shall run into, in that it is a thing 
of his own search and altogether against my will. 124 

Oliver. Charles, I thank thee for thy love to me, which 
thou shalt find I will most kindly requite. I had myself 
notice of my brother's purpose herein, and have by under- 
hand means laboured to dissuade him from it, but he is 
resolute. I '11 tell thee, Charles, it is the stubbornest young 
fellow of France, full of ambition, an envious emulator of 
every man's good parts, a secret and vilUnous contriver 
against me his natural brother ; therefore use thy discretion. 
I had as lief thou didst break his neck as his finger. And 
thou wert best look to 't; for if thou dost him any slight dis- 
grace, or if he do not mightily grace himself on thee, he will 
practise against thee by poison, entrap thee by some treach- 
erous device, and never leave thee till he hath ta'en thy life 
by some indirect means or other : for, I assure thee, and al- 
most with tears I speak it, there is not one so young and so 
villanous this day living. I speak but brotherly of him ; but 
should I anatomize him to thee as he is, I must blush and 
weep, and thou must look pale and wonder. 142 

Charles. I am heartily glad I came hither to you. If he 
come to-morrow, I '11 give him his payment. If ever he go 



34 AS V0[/ LIKE 12, 

alone again, I '11 never wrestle for prize more : and so, God 
keep your worship I 

Oliver. Farewell, good Charles. [Exit Charles!] Now wdll 
I stir this gamester : I hope I shall see an end of him j foi 
my soul, yet I know not why, hates nothing more than he. 
Yet he 's gentle, never schooled and yet learned, full of noble 
device, of all sorts enchantingly beloved, and indeed so much 
in the heart of the world, and especially of my own people, 
who best know him, that I am altogether misprised. | But it 
shall not be so long ; this wrestler shall clear all. 'Nothing 
remains but that I kindle the boy thither; which now I'll go 
about. \Exit. 

Scene II. Lawn before the Duke's Palace, 
Enter Celt a and Rosalind. 

Celia, I pray thee, Rosalind, sweet my coz, be merry. 

Rosalind. Dear Celia, I show more mirth than I am mis- 
tress of; and would you yet I were merrier? Unless you 
could teach me to forget a banished father, you must not 
learn me how to remember any extraordinary pleasure. 

Celia. Herein I see thou lovest me not with the full weight 
that I love thee. If my uncle, thy banished father, had ban- 
ished thy uncle, the duke my father, so thou hadst been still 
with me, I could have taught my love to take thy father for 
mine : so wouldst thou, if the truth of thy love to me were 
so righteously tempered as mine is to thee. n 

Rosalind. Well, I will forget the condition of my estate, to 
rejoice in yours. 

Celia. You know my father hath no child but I, nor none 
is like to have; and, truly, when he dies, thou shalt be his 
heir, for what he hath taken away from thy father perforce, 
I will render thee again in affection: by mine honour, I will; 
and when I break that oath, let me turn monster \ There- 
fore, my sweet Rose, my dear Rose, be merry. 



ACT I. SCENE II, 35 

Rosalind. From henceforth I will, coz, and devise sports. 
Let me see ; what think you of falling in love? n 

Celia. Marry, I prithee, do, to make sport withal : but love 
no man in good earnest; nor no further in sport neither than 
with safety of a pure blush thou mayst in honour come off 
again. 

Rosalind, What shall be our sport, then ? 

Celia, Let us sit and mock the good housewife Fortune 
from her wheel, that her gifts may henceforth be bestowed 
equally. 29 

Rosalind. I would we could do so, for her benefits are 
mightily misplaced, and the bountiful blind woman doth 
most mistake in her gifts to women. 

Celia. 'T is true ; for those that she makes fair she scarce 
makes honest, and those that she makes honest she makes 
very ill-favouredly. 

Rosalind. Nay, now thou goest from Fortune's office to 
Nature's : Fortune reigns in gifts of the world, not in the 
lineaments of Nature. 38 

Enter Touchstone. 

Celia. No? when Nature hath made a fair creature, may 
she not by Fortune fall into the fire ? Though Nature hath 
given us wit to flout at Fortune, hath not Fortune sent in 
this fool to cut off the argument? 

Rosalind. Indeed, there is Fortune too hard for Nature, 
when Fortune makes Nature's natural the cutter-ofF of Na- 
ture's wit. 

Celia. Peradventure this is not Fortune's work neither, 
but Nature's \ who, perceiving our natural wits too dull to 
reason of such goddesses, hath sent this natural for our 
whetstone ; for always the dulness of the fool is the whet- 
Stone of the wits. How now, wit ! whither wander you ? so 

Touchstone. Mistress, you must come away to your father, 

Celia. Were you made the messenger ? 



36 AS you LIKE IT, 

Touchstone. No, by mine honour, but I was bid to come 
for you. 

Rosalind. Where learned you that oath, fool ? 

Touchstone. Of a certain knight that swore by his honour 
they were good pancakes, and swore by his honour the mus* 
tard was naught : now I '11 stand to it, the pancakes were 
naught and the mustard was good, and yet was not the 
knight forsworn. 60 

Celia. How prove you that, in the great heap of your 
knowledge ? 

Rosalind. Ay, marry, now unmuzzle your wisdom. 

Touchstone. Stand you both forth now : stroke your chins, 
and swear by your beards that I am a knave. 

Celia. By our beards, if we had them, thou art. 

Touchstone. By my knavery, if I had it, then I were ; but 
if you swear by that that is not, you are not forsworn: no 
more was this knight, swearing by his honour, for he never 
had any ; or if he had, he had sworn it away before ever he 
saw those pancakes or that mustard. 71 

Celia. Prithee, who is 't that thou meanest? 

Touchstone. One that old Frederick, your father, loves. 

Celia. My father's love is enough to honour him enough: 
speak no more of him ; you '11 be whipped for taxation one 
of these days. 

Touchstone. The more pity, that fools may not speak wise- 
ly what wise men do foolishly. 

Celia. By my troth, thou sayest true; for since the little 
wit that fools have was silenced, the little foolery that wise 
men have makes a great show. Here comes Monsieur Le 
Beau. 83 

Rosalind. With his mouth full of news. 

Celia. Which he will put on us, as pigeons feed their 
young. 

Rosalind. Then shall we be news-crammed. 

Celia. All the better; we shall be the more marketable. 



ACT I. SCENE IL 

Enter Le Beau. 
Bon jour, Monsieur Le Beau: what 's the news? 

Le Beau, Fair princess, you have lost much good sport. 

Celia. Sport 1 of what colour ? 90 

Le Beau. What colour, madam ? how shall I answer you? 

Bosalitid. As wit and fortune will. 

Touchstone. Or as the destinies decree. 

Celia. Well said : that was laid on with a trowel. 

Touchstone. Nay, if I keep not my rank, — 

Rosalind, Thou losest thy old smell. 

Le Beau. You amaze me, ladies : I would have told you 
of good wrestling, which you have lost the sight of. 

Rosalind. Yet tell us the manner of the wrestling. 99 

Le Beau. I will tell you the beginning ; and, if it please 
your ladyships, you may see the end : for the best is yet to 
do; and here, where you are, they are coming to perform it. 

Celia. Well, the beginning, that is dead and buried. 

Le Beau. There comes an old man and his three sons, — 

Celia. I could match this beginning with an old tale. 

Le Beau. Three proper young men, of excellent growth 
and presence, — 

Rosalind. With bills on their necks, * Be it known unto 
all men by these presents.' 109 

Le Beau. The eldest of the three wrestled with Charles, 
the duke's wrestler; which Charles in a moment threw him 
and broke three of his ribs, that there is little hope of life 
in him: so he served the second, and so the third. Yon- 
der they lie; the poor old man, their father, making such 
pitiful dole over them that all the beholders take his part 
with weeping. 

Rosalind. Alas I 

Touchstone. But what is the sport, monsieur, that the la- 
dies have lost? 

Le Beau. Why, this that I speak of. 120 



38 



AS YOU LIKE IT. 



Touchstone. Thus men may grow wiser every day ! It is 
the first time that ever I heard breaking of ribs was sport 
for ladies. 

Celia. Or I, I promise thee. 

Rosalind. But is there any else longs to see this broken 
music in his sides ? is there yet another dotes upon rib- 
breaking i* — Shall we see this wrestling, cousin? 

Le Beau. You must, if you stay here; for here is the place 
appointed for the wrestling, and they are ready to perform 
it. 130 

Celia. Yonder, sure, they are coming: let us now stay and 
see it. 

Flourish. Enter Duke Frederick, Lords, Orlando, 
Charles, and Attendants. 

Duke Frederick. Come on : since the youth will not be 
entreated, his own peril on his forwardness. 

Rosalind. Is yonder the man ? 

Le Beau. Even he, madam. 

Celia. Alas, he is too young ! yet he looks successfully. 

Duke Frederick. How now, daughter and cousin ! are you 
crept hither to see the wrestling ? 

Rosalind. Ay, my liege, so please }ou give us leave. 140 

Duke Frederick. You will take little delight in it, I can 
tell you; there is such odds in the men. In pity of the 
challenger's youth I would fain dissuade him, but he will 
not be entreated. Speak to him, ladies; see if you can 
move him. 

Celia. Call him hither, good Monsieur Le Beau. 

Duke Frederick. Do so; I '11 not be by. 

Le Beau. Monsieur the challenger, the princess calls for 
you. 

Orlando. I attend them with all respect and duty. 150 

Rosalind. Young man, have you challenged Charles the 
wrestler ? 



ACT I. SCENE II. 39 

Orlando. No, fair princess; he is the general challenger: 
I come but in, as others do, to try with him the strength of 
my youth. 

Celia. Young gentleman, your spirits are too bold for your 
years. You have seen cruel proof of this man's strength: 
if you saw yourself with your eyes or knew yourself with 
your judgment, the fear of your adventure would counsel 
you to a more equal enterprise. We pray you, for your 
own sake, to embrace your own safety and give over this 
attempt. 162 

Rosalind. Do, young sir; your reputation shall not there- 
fore be misprised: we will make it our suit to the duke that 
the wrestling might not go forward. 

Orlando. I beseech you, punish me not with your hard 
thoughts, wherein I confess me much guilty to deny so fair 
and excellent ladies any thing. But let your fair eyes and 
gentle wishes go with me to my trial; wherein if I be foiled, 
there is but one shamed that was never gracious; if killed, 
but one dead that is willing to be so. I shall do my friends 
no wrong, for I have none to lament me; the world no in- 
jury, for in it I have nothing: only in the world I fill up a 
place which may be better supplied when I have made it 
empty. 17s 

Rosalind. The little strength that I have, I would it we're 
with you. 

Celia. And mine, to eke out hers. 

Rosalind. Fare you well : pray heaven I be deceived in 
you ! 180 

Celia. Your heart's desires be with you ! 

Charles. Come, where is this young gallant that is so de- 
sirous to lie with his mother earth ? 

Orlando. Ready, sir ; but his will hath in it a more modest 
working. 

Duke Frederick. You shall try but one fall. 

Charles. No, I warrant your grace, you shall not entreat 



40 ^S YOU LIKE IT. 

him to a second, that have so mightily persuaded him from 
a first. 

Orlando. You mean to mock me after; you should not 
have mocked me before: but come your ways. 191 

Rosalind. Now Hercules be thy speed, young man ! 

Celia. I would I were invisible, to catch the strong fellow 
by the leg. \They wrestle. 

Rosalind. O excellent young man ! 

Celia. If I had a thunderbolt in mine eye, I can tell who 
should down. \_Shout. Charles is thrown. 

Duke Frederick. No more, no more. 

Orlando. Yes, I beseech your grace; I am not yet well 
breathed. 200 

Duke F?'ederick. How dost thou, Charles? 

Le Beau. He cannot speak, my lord. 

Duke Frederick. Bear him away. — What is thy name, 
young man ? 

Orlando. Orlando, my liege; the youngest son of Sir 
Rowland de Boys. 

Duke Frederick. I would thou hadst been son to some 
man else. 
The world esteem'd thy father honourable, 
But I did find him still mine enemy : 

Thou shouldst have better pleas'd me with this deed, 210 
Hadst thou descended from another house. 
But fare thee well ; thou art a gallant youth : 
I would thou hadst told me of another father. 

[Fxeunt Duke Frederick, train, and Le Beau. 

Celia. Were I my father, coz, would I do this ? 

Orlando. I am more proud to be Sir Rowland's son. 
His youngest son ; and would not change that calling, 
To be adopted heir to Frederick. 

Rosalind. My father lov'd Sir Rowland as his soul, 
And all the world was of my father's mind : 
Had I before known this young man his son, 220 



ACT I. SCENE II, ^I 

I should have given him tears unto entreaties, 
Ere he should thus have ventur'd. 

Celia. Gentle cousin, 

Let us go thank him and encourage him : 
My father's rough and envious disposition 
Sticks me at heart. — Sir, you have well deserv'd: 
If you do keep your promises in love 
But justly as you have exceeded all promise, 
Your mistress shall be happy. 

Rosalind. Gentleman, 

[^Giving hmi a chain from her neck. 
Wear this for me, one out of suits with fortune. 
That could give more but that her hand lacks means. — 230 
Shall we go, coz ? 

Celia. Ay. — Fare you well, fair gentleman. 

Orlando. Can I not say, I thank you ? My better parts 
Are all thrown down, and that which here stands up 
Is but a quintain, a mere lifeless block. 

Rosalind. He calls us back: my pride fell with my for- 
tunes; 
I '11 ask him what he would. — Did you call, sir ? — 
Sir, you have wrestled well and overthrown 
More than your enemies. 

Celia. Will you go, coz ? 

Rosalind. Have with you. — Fare you well. 

\Exeu7it Rosalind and Celia. 

Orlando. What passion hangs these weights upon my 
tongue } 24a 

I cannot speak to her, yet she urg'd conference. 
O poor Orlando, thou art overthrown ! 
Or Charles or something weaker masters thee. 

Enter Le Beau. 
Le Beau. Good sir, I do in friendship counsel you 
To leave this place. Albeit you have deserv'd 



42 



AS YOU LIKE IT. 




High commendation, true applause, and love, 

Yet such is now the duke's condition 

That he misconstrues all that you have done. 

The duke is humorous: what he is, indeed, 

More suits you to conceive than I to speak" of. 5 

Orlando. I thank you, sir ; and, pray you, tell me this ; 
Which of the two was daughter of the duke 
That here was at the wrestling ? 

Le Beau. Neither his daughter, if we judge by manners; 
But yet indeed the smaller is his daughter: 
The other is daughter to the banish'd duke, 
And here detain'd by her usurping uncle. 
To keep his daughter company ; whose loves 
Are dearer than the natural bond of sisters 
But I can tell you that of late this duke 260 ^ ^ 

Hath ta'en displeasure 'gainst his gentle niece, 
Grounded upon no other argument 

But that the people praise her for her virtues ' 

And pity her for her good father's sake ; J 

And, on my life, his malice 'gainst the lady • 

Will suddenly break forth. Sir, fare you well : i 

Hereafter, in a better world than this, \ 

I shall desire more love and knowledge of you^ 1 

Orlando. I rest much bounden to you : fare you well. \ 

\Exit Le Beau. \ 

Thus must I from the smoke into the smother; 270 \ 

From tyrant duke unto a tyrant brother:— \ 

But heavenly Rosalind ! \Exit. \ 



Scene HI. A Room in the Palace. 
Enter Celia and Rosalind. 

Celia. Why, cousin! why, Rosalind! Cupid have mercy! 
not a word ? 
Rosalind. Not one to throw at a dog. 



ACT I. SCENE III. 



43 



Celia. No, thy words are too precious to be cast away 
upon cursj throw some of them at me: come, lame me 
with reasons. 

Rosalind. Then there were two cousins laid up; when the 
one should be lamed with reasons, and the other mad with- 
out any. 

Celia. But is all this for your father 1 lo 

Rosalind. No, some of it is for my child's father. O, how 
full of briers is this working-day world ! 

Celia. They are but burs, cousin, thrown upon thee in 
holiday foolery; if we walk not in the trodden paths, our 
very petticoats will catch them. 

Rosalind. I could shake them off my coat ; these burs are 
in my heart. 

Celia. Hem them away. 

Rosalind. I would try, if I could cry hem and have 
him. 20 

Celia. Come, come, wrestle with thy affections. 

Rosalind. O, they take the part of a better wrestler than 
myself! 

Celia. O, a good wish upon you ! you will try in time, in 
despite of a fall. But, turning these jests out of service, let 
us talk in good earnest. Is it possible, on such a sudden, 
you should fall into so strong a liking with old Sir Row- 
land's youngest son ? 

Rosalind. The duke my father lov'd his father dearly. 29 

Celia. Doth it therefore ensue that you should love his 
son dearly? By this kind of chase, I should hate him, 
for my father hated his father dearly; yet I hate not Or- 
lando. 

Rosalind. No, faith, hate him not, for my sake. 

Celia. Why should I not ? doth he not deserve well ? 

Rosalind, Let me love him for that, and do you love him 
because I do. — Look, here comes the duke. 

Celia. With his eyes full of anger. 



44 AS roc/ LIKE IT, 

Enter Duke Frederick, with Lords. 

Duke Frederick. Mistress, dispatch you with your safest 
haste, 
And get you from our court. 

Rosalind. Me, uncle ? 

Duke Frederick. You, cousin : 40 

Within these ten days if that thou be'st found 
So near our public court as twenty miles, 
Thou diest for it. 

Rosalind. I do beseech your grace. 

Let me the knowledge of my fault bear with me: 
If with myself I hold intelligence 
Or have acquaintance with mine own desires. 
If that I do not dream or be not frantic, — 
As I do trust I am not,— then, dear uncle. 
Never so much as in a thought unborn 
Did I offend your highness. 

Duke Frederick. Thus do all traitors ; 50 

If their purgation did consist in words, 
They are as innocent as grace itself: 
Let it suffice thee that I trust thee not. 

Rosalind. Yet your mistrust cannot make me a traitor: 
Tell me whereon the likelihood depends. 

Duke Frederick. Thou art thy father's daughter; there's 
enough. 

Rosalind. So was I when your highness took his duke- 
dom; 
So was I when your highness banish'd him. 
Treason is not inherited, my lord ; 

Or, if we did derive it from our friends, 60 

What 's that to me 1 my father was no traitor : 
Then, good my liege, mistake me not so much 
To think my poverty is treacherous. 

Celia. Dear sovereign, hear me speak. 



ACT I. SCENE III. 45 

Duke Frederick. Ay, Celia ; we stay'd her for your sake, 
Else had she with her father rang'd along. 

Celia. I did not then entreat to have her stay; 
It was your pleasure and your own remorse. 
I was too young that time to value her, 

But now I know her: if she be a traitor, ( 70 

Why so am I ; we still have slept together, 
Rose at an instant, learn'd, play'd, eat together, 
And wheresoe'er we went, like Juno's swans, i 

Still we went coupled and inseparable. ^ 

Duke Frederick. She is too subtle for thee ; and her 
smoothness, 
Her very silence and her patience. 
Speak to the people, and they pity her. 
Thou art a fool: she robs thee of thy name; 
And thou wilt show more bright and seem more virtuous 
When she is gone. Then open not thy lips : 80 

Firm and irrevocable is my doom 
Which I have pass'd upon her; she is banish'd. 

Celia. Pronounce that sentence then on me, my liege: 
I cannot live out of her company. 

Duke Frederick. You are a fool. — You, niece, provide 
yourself: 
If you outstay the time, upon mine honour, 
And in the greatness of my word, you die. 

[Exeunt Duke Frederick and Lords. 

Celia. O my poor Rosalind, whither wilt thou go ? 
Wilt thou change fathers ? I will give thee mine. 
I charge thee, be not thou more griev'd than I am. 90 

Rosalind. I have more cause. 

- Celia. Thou hast not, cousin; 

Prithee, be cheerful : know'st thou not, the duke 
Hath banish'd me, his daughter ? 

Rosalind. That he hath not. 

Celia. NO; hath not ? Rosalind lacks then the love 



46 AS VOU LIKE IT, 

Which teacheth thee that thou and I am one; 

Shall we be sunder'd ? shall we part, sweet girl ? 

No : let my father seek another heir. 

Therefore devise with me how we may fly, 

Whither to go, and what to bear with us ; 

And do not seek to take the charge upon you, loo 

To bear your griefs yourself and leave me out; 

For, by this heaven, now at our sorrows pale, 

Say what thou canst, I '11 go along with thee. 

Rosalind. Why, whither shall we go ? 

Celia. To seek my uncle in the forest of Arden. 

Rosalind. Alas, what danger will it be to us, 
Maids as we are, to travel forth so far ! 
Beauty provoketh thieves sooner than gold. 

Celia. I '11 put myself in poor and mean attire. 
And with a kind of umber smirch my face; no 

The like do you : so shall we pass along 
And never stir assailants. 

Rosalind. Were it not better, 

Because that I am more than common tall, 
That I did suit me all points like a man ? 
A gallant curtle-axe upon my thigh, 
A boar-spear in my hand ; and, in my heart 
Lie there what hidden woman's fear there will, 
We '11 have a swashing and a martial outside, 
As many other mannish cowards have 
That do outface it with their semblances. "« 

Celia. What shall I call thee when thou art a man ? 

Rosalind. I '11 have no worse a name than Jove's own 
page. 
And therefore look you call me Ganymede. 
But what will you be call'd ? 

Celia. Something that hath a reference to my state; 
No longer Celia, but Aliena. 

Rosalind. But, cousin, what if we assay 'd to steal 



ACT I. SCENE III, 



47 



The clownish fool out of your father's court? 
Would he not be a comfort to our travel? 

Celia. He '11 go along o'er the wide world with me ; 130 
Leave me alone to woo him. Let 's away, 
And get our jewels and our wealth together, 
Devise the fittest time and safest way 
To hide us from pursuit that will be made 
After my flight. Now go we in content 
To liberty, and not to banishment. \Exeunt 





*' Dear master, I can go no further" (ii. 6. i). 



ACT II. 

Scene I. The Forest of Arden. 

Enter Duke Senior, Amiens, and two or three Lords, 

like foresters. 

Duke Senior. Now, my co-mates and brothers in exile, 
Hath not old custom made this life more sweet 
Than that of painted pomp ? Are not these woods 
More free from peril than the envious court? 
Here feel we not the penalty of Adam. 
The seasons' difference, — as the icy fang 



ACT II. SCENE I. 4Q 

And churlish chiding of the winter's wind, 
Which, when it bites and blows upon my body. 
Even till I shrink with cold, I smile and say 
*This is no flattery' — these are counsellors lo 

That feelingly persuade me what I am. 
Sweet are the uses of adversity, 
'.Which, like the toad, ugly and venomous, 
(Sj tVears yet a precious jewel in his head; 
^ ^ And this our life, exempt from public haunt, 
^ / I Finds tongues in trees, books in the running brooks, 
I Sermons in stones, and good in everything. 
I would not change it. -^ 

Amiens. 'Happy is your grace, 

That can translate the stubbornness of fortune 
Into so quiet and so sweet a style. 20 

Duke Senior. Come, shall we go and kill us venison? 
And yet it irks me the poor dappled fools, 
Being native burghers of this desert city. 
Should in their own confines with forked heads 
Have their round haunches gor'd. 

First Lord. Indeed, my lord. 

The melancholy Jaques grieves at that, 
And, in that kind, swears you do more usurp 
Than doth your brother that hath banish'd you. 
To-day my lord of Amiens and myself 

Did steal behind him as he lay along 30 

Under an oak, whose antique root peeps out 
Upon the brook that brawls along this wood : 
To the which place a poor sequester'd stag, 
That from the hunter's aim had ta'en a hurt, 
Did come to languish ; and indeed, my lord. 
The wretched animal heav'd forth such groans 
That their discharge did stretch his leathern coat 
Almost to bursting, and the big round tears 
Cours'd one another down his innocent nose 

D 



50 



AS YOU LIKE IT. 



In piteous chase : and thus the hairy fool, 40 j 

Much marked of the melancholy Jaques, \ 

Stood on the extremest verge of the swift brook, ' 

Augmenting it with tears. \ 

Duke Senior. But what said Jaques? '. 

Did he not moralize this spectacle ? -; 

First Lord. O, yes, into a thousand similes. 
First, for his weeping into the needless stream ; \ 

' Poor deer,' quoth he, ' thou mak'st a testament 
As worldlings do, giving thy sum of more i 

To that which had too much.' Then, being there alone, j 

Left and abandon'd of his velvet friends ; 50 ■ 

* 'T is right,' quoth he ; ' thus misery doth part ! 

The flux of company.' Anon a careless herd, * 

Full of the pasture, jumps along by him, j 

And never stays to greet him, ' Ay,' quoth Jaques, \ 

' Sweep on, you fat and greasy citizens ; ] 

'T is just the fashion : wherefore do you look \ 

Upon that poor and broken bankrupt there ?' J 

Thus most invectively he pierceth through \ 

The body of the country, city, court, ■ 

Yea, and of this our life, swearing that we 60 ^ 

Are mere usurpers, tyrants, and what 's worse, 
To fright the animals and to kill them up h 

In their assign'd and native dwelling-place. ! 

Duke Senior. And did you leave him in this contemplation ? ;; 

Second Lord. We did, my lord, weeping and commenting \ 

Upon the sobbing deer. I 

Duke Senior. Show me the place ; \ 

I love to cope him in these sullen fits, i 

For then he 's full of matter. ^ 

First Lord, I '11 bring you to him straight. {Exeunt \ 



ACT II. SCENES II AND IIL 51 



Scene II. A Room in the Palace. 
Enter Duke Frederick, with Lords. 

Duke Frederick. Can it be possible that no man saw them: 
It cannot be : some villains of my court 
Are of consent and sufferance in this. 

First Lord. I cannot hear of any that did see her. 
The ladies, her attendants of her chamber, 
Saw her a-bed, and in the morning early 
They found the bed untreasur'd of their mistress. 

Second Lord. My lord, the roynish clown, at whom so oft 
Your grace was wont to laugh, is also missing. 
Hesperia, the princess' gentlewoman, to 

Confesses that she secretly o'erheard 
Your daughter and her cousin much commend 
The parts and graces of the wrestler 
That did but lately foil the sinewy Charles; 
And she believes, wherever they are gone, 
That youth is surely in their company. 

Duke Frederick. Send to his brother; fetch that gallant 
hither : 
If he be absent, bring his brother to me; 
I '11 make him find him : do this suddenly, 
And let not search and inquisition quail 20 

To bring again these foolish runaways. \Exeunt 

Scene III. Before Oliver's House. 
Enter Orlando and Adam, meeting. 

Orlando. Who 's there ? 

Adam. What, my young master ? O my gentle master ! 
O my sweet master ! O you memory 
Of old Sir Rowland ! why, what make you here 1 
Why are you virtuous ? why do people love you ? 



52 ^S YOU LIKE IT. 

' \ 

And wherefore are you gentle, strong, and valiant ? | 

Why would you be so fond to overcome I 

The bonny priser of the humorous duke ? \ 

Your praise is come too swiftly home before yoiu 

Know you not, master, to some kind of men « i 

Their graces serve them but as enemies? % 

No more do yours : your virtues, gentle master, i 

Are sanctified and holy traitors to you. | 

O, what a world is this, when what is comely \ 

Envenoms him that bears it ! j 

Orlando. Why, what 's the matter ? i 

Adam. O unhappy youth ! 

Come not within these doors; within this roof 1 

The enemy of all your graces lives : \ 

Your brother — no, no brother ; yet the son — ; 

Yet not the son, I will not call him son 20 

Of him I was about to call his father — \ 

Hath heard your praises, and this night he means \ 

To burn the lodging where you use to lie \ 

And you within it : if he fail of that, ; 

He will have other means to cut you off. .' 

I overheard him in his practices. \ 

This is no place; this house is but a butchery; 

Abhor it, fear it, do not enter it. ] 

Orlando. Why, whither, Adam, wouldst thou have me go "i 1 

Adam. No matter whither, so you come not here. 30 i 

Orlando. What, wouldst thou have me go and beg my food ? \ 

Or with a base and boisterous sword enforce ] 

A thievish living on the common road 1 ^ 

This I must do, or know not what to do: j 

Yet this I will not do, do how I can; j 

I rather will subject me to the malice j 

Of a diverted blood and bloody brother. \ 

Adam. But do not so. I have five hundred crowns, 1 

The thrifty hire I sav'd under your father, ;; 



ACT II. SCENE III. 

Which I did store to be my foster-nurse 

When service should in my old limbs lie lame 

And unregarded age in corners thrown : 

Take that, and He that doth the ravens feed, 

Yea, providently caters for the sparrow. 

Be comfort to my age ! Here is the gold; 

All this I give you. Let me be your servant; 

Though I look old, yet I am strong and lusty; 

For in my youth I never did apply 

Hot and rebellious liquors in my blood, 

Nor did not with unbashful forehead woo 

The means of weakness and debility; 

Therefore my age is as a lusty winter, 

Frosty, but kindly. Let me go with you; 

I '11 do the service of a younger man 

In all your business and necessities. 

Orlando. O good old man J how well in thee appears 
^The constant service of the antique world, / 
^When service sweat for duty, not for meed 1 \ 
iThou art not for the fashion of these times, 
\ Where none will sweat but for promotion, 

=And having that, do choke their service up 

VEven with the having ; it is not so with thee. 

But, poor old man, thou prun'st a rotten tree, 

That cannot so much as a blossom yield 

In lieu of all thy pains and husbandry. 

But come thy ways; we '11 go along together. 

And ere we have thy youthful wages spent. 

We '11 light upon some settled low content. 
Adam. Master, go on, and I will follow thee, 

To the last gasp, with truth and loyalty. 

From seventeen years till now almost fourscore 

Here lived I, but now live here no more. 

At seventeen years many their fortunes seek. 

But at fourscore it is too late a week : 



53 



54 



AS YOU LIKE IT, 



Yet fortune cannot recompense me better 

Than to die well, and not my master's debtor. \ExeunU 

Scene IV. The Forest of Arden, 

Enter Rosalind for Ganymede, Celia for Aliena, 

and Touchstone. 

Rosalind. O Jupiter ! how weary are my spirits ! 

Touchstone. I care not for my spirits, if my legs were not 
weary. 

Rosalind. I could find in my heart to disgrace my man's 
apparel and to cry like a woman; but I must comfort the 
weaker vessel, as doublet and hose ought to show itself 
courageous to petticoat : therefore courage, good Aliena ! 

Celia. I pray you, bear with me;|l cannot go no further. J 

Touchstone. For my part, I had rather bear with you than 
bear you; yet I should bear no cross if I did bear you, for I 
think you have no money in your purse. n 

Rosalind. Well, this is the forest of Arden. 

Touchstone. Ay, now am I in Arden ; the more fool I ! 
when I was at home, I was in a better place : but travellers 
must be content. 

Rosalind. Ay, be so, good Touchstone. — Look you, who 
comes here; a young man and an old in solemn talk. 

Enter Corin and Silvius. 
Corin. That is the way to make her scorn you still. 
Silvius. O Corin, that thou knew'st how I do love her I 
Corin. I partly guess ; for I have lov'd ere now. z* 

Silvius. No, Corin, being old, thou canst not guess, 

Though in thy youth thou wast as true a lover 

As ever sigh'd upon a midnight pillow ; 

But if thy love were ever like to mine — 

As sure I think did never man love so — 

How many actions most ridiculous 

Hast thou been drawn to by thy fantasy ? 



ACT IL SCENE IV. 55 

Corin. Into a thousand that I have forgotten. 

Silvius. O, thou didst then ne'er love so heartily! 
If thou remember'st not the slightest folly 30 

That ever love did make thee run into, 
Thou hast not lov'd : 
Or if thou hast not sat as I do now, 
Wearing thy hearer in thy mistress' praise, 
Thou hast not lov'd : 
Or if thou hast not broke from company 
Abruptly, as my passion now makes me, 
Thou hast not lov'd. 

Phebe, Phebe, Phebe ! [Exit. 
Rosalind. Alas, poor shepherd ! searching of thy wound, 

1 have by hard adventure found mine own. 41 

Touchstone. And I mine. I remember when I was in love 
I broke my sword upon a stone, and bid him take that for 
coming a-night to Jane Smile; and I remember the kissing 
of her batlet and the cow's dugs that her pretty chopt hands 
had milked j and I remember the wooing of a peascod in- 
stead of her, from whom I took two cods, and, giving her 
them again, said with weeping tears, * Wear these for my 
sake.* We that are true lovers run into strange capers: but 
as all is mortal in nature, so is all nature in love mortal in 
folly. SI 

Rosalind. Thou speakest wiser than thou art ware of 

Touchstone. Nay, I shall ne'er be ware of mine own wit 
till I break my shins against it. 

Rosalind. Jove, Jove ! this shepherd's passion 
Is much upon my fashion. 

Touchstone. And mine ; but it grows something stale with 
me. 

Celia. I pray you, one of you question yond man 
If he for gold will give us any food : 6a 

I faint almost to death. 

Touchstone. Holla, you clown ! 



56 ^S YOU LIKE IT. 

Rosalind, Peace, fool ; he 's not thy kinsman. 

Corin. Who calls? 

Touchstone. Your betters, sir. 

Corin. Else are they very wretched. 

Rosalind. Peace, I say. — Good even to you, friend. 

Corin. And to you, gentle sir, and to you all. 

Rosalind. I prithee, shepherd, if that love or gold 
Can in this desert place buy entertainment, 
Bring us where we may rest ourselves and feed : 
Here 's a young maid with travel much oppress'd 
And faints for succour. 

Corin. Fair sir, I pity her, 70 

And wish, for her sake more than for mine own, 
My fortunes were more able to relieve her \ 
But I am shepherd to another man 
And do not shear the fleeces that I graze : 
My master is of churlish disposition. 
And little recks to find the way to heaven 
By doing deeds of hospitality. 
Besides, his cote, his flocks, and bounds of feed 
Are now on sale, and at our sheepcote now, 
By reason of his absence, there is nothing 80 

That you will feed on ; but what is, come see, 
And in my voice most welcome shall you be. 

Rosalind. What is he that shall buy his flock and pasture ? 

Corin. That young swain that you saw here but erewhile, 
That little cares for buying any thing. 

Rosalind. I pray thee, if it stand with honesty, 
Buy thou the cottage, pasture, and the flock 
And thou shalt have to pay for it of us. 

Celia. And we will mend thy wages. I like this place. 
And willingly could waste my time in it. go 

Corin, Assuredly the thing is to be sold : 
Go with me ; if you like upon report 
The soil, the profit, and this kind of life, 



ACT 11, SCENE V. ^j 

I will your very faithful feeder be, 

And buy it with your gold right suddenly. [Exeunt 



Scene V. T/te Forest. 
Enter Amiens, Jaques, and others. 

Song 

Amiens. Under the greenwood tree 

Who loves to lie with me. 
And turn his merry note 
Unto the sweet bird^s throat, 
Come hither, come hither, come hither: 
Here shall he see 
No enemy 
But winter and rough weather, 

yaqiies. More, more, I prithee, more \ g 

Amiens. It will make you melancholy, Monsieur Jaques. 

Jaques. I thank it More, I prithee, more ! I can suck 
melancholy out of a song, as a weasel sucks eggs. More, I 
prithee, more ! 

Amiens. My voice is ragged : I know I cannot please you. 

Jaques. I do not desire you to please me ; I do desire 
you to sing. Come, more; another stanzo: call you 'em 
stanzos ? 

Amiens. What you will. Monsieur Jaques. 

Jaques. Nay, I care not for their names ; they owe me 
nothing. Will you sing ? 20. 

Amiens. More at your request than to please myself. 

Jaques. Well then, if ever I thank any man, I 'II thank 
you : but that they call compliment is like the encounter of 
two dog-apes; and when a man thanks me heartily, me- 
thinks I have given him a penny and he renders me the 
beggarly thanks. Come, sing ; and you that will not, hold 
your tongues. 



gg ^S YOU LIKE IT. 

Amiens. Well, I '11 end the song. — Sirs, cover the while ; 
the duke will drink under this tree. — He hath been all this 
day to look you. 30 

Jaques. And I have been all this day to avoid him. He 
is too disputable for my company : I think of as many mat 
ters as he, but I give heaven thanks and make no boast of 
them. Come, warble, come. 

Song. 
Who doth ambition shun [All together here. 
And loves to live V the sun, 
Seeking the food he eats 
And pleas' d with what he gets. 
Come hither, come hither, come hither: 

Here shall he see 40 

No enemy 
But winter and rough weather. 

yaques. I '11 give you a verse to this note that I made 
yesterday in despite of my invention. 
Amiens. And I '11 sing it. 
Jaques. Thus it goes : — 

Jf it do come to pass 
That any man turn ass, 
Leaving his wealth and ease, 
A stubborn will to please, so 

Ducdame, ducdame, ducdame: 
Here shall he see 
Gross fools as he, 
An if he will come to me. 

Amiens. What's that 'ducdame?* 

Jaques. 'T is a Greek invocation, to call fools into a cir- 
cle. I '11 go sleep, if I can ; if I cannot, I '11 rail against all 
the firstborn of Egypt. 

Amiens. And I '11 go seek the duke: his banquet is pre- 
pared. [Exeunt severally. 



ACT II. SCENES VI. AND VII. 59 



Scene VI. The Forest 
Enter Orlando and Adam. 

Adam. Dear master, I can go no further. 0, I die for 
food ! Here lie I down, and measure out my grave. Fare- 
well, kind master. 

Orlando. Why, how now, Adam ! no greater heart in thee? 
Live a little ; comfort a little ; cheer thyself a little. If this 
uncouth forest yield any thing savage, I will either be food 
for it or bring it for food to thee. Thy conceit is nearer 
death than thy powers. For my sake be comfortable ; hold 
death awhile at the arm's end. I will here be with tnee 
presently ; and if I bring thee not something to eat, I will 
give thee leave to die : but if thou diest before I come, 
thou art a mocker of my labour. Well said ! thou lookest 
cheerly, and I '11 be with thee quickly. — Yet thou liest in 
the bleak air: come, I will bear thee to some shelter : and 
thou shalt not die for lack of a dinner, if there live any 
thing in this desert. Cheerly, good Adam I \Exeunt 

Scene VII. The Forest. 

A table set out. Enter Duke Senior, Amiens, and Lords 

like outlaws. 

Duke Sefiior. I think he be transform'd into a beast : 
For I can no where find him like a man. 

First Lord. My lord, he is but even now gone hence ; 
Here was he merry, hearing of a song. 

Duke Senior. If he, compact of jars, grow musical, 
We shall have shortly discord in the spheres. 
Go seek him j tell him I would speak with him. 

Enter Jaques. 
First Lord. He saves my labour by his own approach. 



5o ^-S- vol/ LIKE IT. 

Duke Senior, Why, how now, monsieur 1 what a life is this, 
That your poor friends must woo your company ! lo 

What, you look merrily 1 

Jaques. A fool, a fool ! I met a fool i' the forest, 
A motley fool ! — a miserable world !— 
As I do live by food, I met a fool, 
Who laid him down and bask'd him in the sun, 
And raird on Lady Fortune in good terms, 
In good set terms, and yet a motley fool. 

* Good morrow, fool,' quoth I. * No, sir,' quoth he, 

* Call me not fool till heaven- hath sent me fortune.' 

And then he drew a dial from his poke, 26 

And, looking on it with lack-lustre eye. 

Says very wisely, * It is ten o'clock : 

Thus we may see,' quoth he, ' how the world wags: 

'T is but an hour ago since it was nine, 

And after one hour more 't will be eleven ; 

And so, from hour to hour, we ripe and ripe, 

And then, from hour to hour, we rot and rot; 

And thereby hangs a tale.' When I did hear 

The motley fool thus moral on the time, 

My lungs began to crow like chanticleer, 30 

That fools should be so deep-contemplative, 

And I did laugh sans intermission 

An hour by his dial. — O noble fool ! 

A worthy fool I Motley 's the only wear. 

Duke Senior. What fool is this ? 

Jaques. O worthy fool ! — One that hath been a courtier. 
And says, if ladies be but young and fair, 
They have the gift to know it; and in his brain. 
Which is as dry as the remainder biscuit 
After a voyage, he hath strange places cramm'd 40 

With observation, the which he vents 
In mangled forms. — O that I were a fool ! 
I am ambitious for a motley coat. 



ACT IT. SCENE VII, 6l 

Duke Senior. Thou shalt have one. 

yaques. It is my only suit; 

Provided that you weed your better judgments 
Of all opinion that grows rank in them 
That I am wise. I must have liberty 
Withal, as large a charter as the wind, 
To blow on whom I please ; for so fools have : 
And they that are most galled with my folly, 50 

They most must laugh. And why, sir, must they so? 
The * why ' is plain as way to parish church : 
He that a fool doth very wisely hit 
Doth very foolishly, although he smart, 
But to seem senseless of the bob : if not, 
The wise man's folly is anatomiz'd 
Even by the squandering glances of the fool. 
Invest me in my motley; give me leave 
To speak my mind, and I will through and through 
Cleanse the foul body of the infected world, 60 

If they will patiently receive my medicine. 

Duke Sefiior. Fie on thee I I can tell what thou wouldst 
do. 

yaques. What, for a counter, would I do but good ? 

Duke Senior. Most mischievous foul sin, in chiding sin : 
For thou thyself hast been a libertine, 
As sensual as the brutish sting itself; 
And all the embossed sores and headed evils 
That thou with license of free foot hast caught 
Wouldst thou disgorge into the general world. 

yaques. Why, who cries out on pride, 70 

That can therein tax any private party? 
Doth it not flow as hugely as the sea, 
Till that the wearer's very means do ebb? 
What woman in the city do I name 
When that I say the city woman bears 
The cost of princes on unworthy shoulders ? 



62 AS YOU LIKE IT, 

Who can come in and say that I mean her, 

When such a one as she such is her neighbour ? 

Or what is he of basest function 

That says his bravery is not on my cost, so 

Thinking that I mean him, but therein suits 

His folly to the mettle of my speech? 

There then; how then? what then? Let me see wherein 

My tongue hath wrong'd him : if it do him right, 

Then he hath wrong'd himself; if he be free. 

Why then my taxing like a wild-goose flies, 

Unclaim'd of any man. — But who comes here? 

Enter Orlando, with his sword drawn. 

Orlando. Forbear, and eat no more. 

jfaques. Why, I have eat none yet. 

Orlando. Nor shalt not, till necessity be serv'd. 

yaques. Of what kind should this cock come of? gc 

Duke Senior. Art thou thus bolden'd, man, by thy distress, 
Or else a rude despiser of good manners. 
That in civility thou seem'st so empty? 

Orlando. You touch'd my vein at first : the thorny point 
Of bare distress hath ta'en from me the show 
Of smooth civility; yet am I inland bred 
And know some nurture. But forbear, I say r 
He dies that touches any of this fruit 
Till I and my affairs are answered. 

jfaques. An you will not be answered with reason, I must 
die. loi 

Duke Senior. What would you have ? Your gentleness 
shall force, 
More than your force move us to gentleness. 

Orlando. I almost die for food, and let me have it. 

JDuke Senior. Sit down and feed, and welcome to oui 
table. 

Orlando. Speak you so gently ? Pardon me, I pray you : 



ACT IL SCENE VII. ^ 6 J 

I thought that all things had been savage here; 

And therefore put I on the countenance 

Of stern commandment. But whatever you are 

That in this desert inaccessible, no 

Under the shade of melancholy boughs, 

Lose and neglect the creeping hours of time. 

If ever you have look'd on better days. 

If ever been where bells have knoU'd to church, 

If ever sat at any good man's feast. 

If ever from your eyelids wip'd a tear, 

And know what 't is to pity and be pitied, 

Let gentleness my strong enforcement be; 

In the which hope I blush, and hide my sword. 

Duke Senior. True is it that we have seen better days, 120 
And have with holy bell been knoll'd to church. 
And sat at good men's feasts, and wip'd our eyes 
Of drops that sacred pity hath engender'd ; 
And therefore sit you down in gentleness. 
And take upon command what help we have 
That to your wanting may be minister'd. 

Orlando. Then but forbear your food a little while, 
Whiles, like a doe, I go to find my fawn 
And give it food. There is an old poor man, 
Who after me hath many a weary step 130 

Limp'd in pure love : till he be first sufiic'd, 
Oppress'd with two weak evils, age and hunger, 
I will not touch a bit. 

Duke Senior. Go find him out. 

And we will nothing waste till you return. 

Orlando. I thank ye ; and be blest for your good comfort ! 

\Exit. 

Duke Senior. Thou seest we are not all alone unhappy • 
This wide and universal theatre 
Presents more woeful pageants than the scene 
Wherein we play in. 



64 



AS YOU LIKE IT. 



jFaques, All the world 's a stage, 

And all the men and women merely players : i^c 

They have their exits and their entrances ; 
And one man in his time plays many parts, 
His acts being seven ages. At first the infant, 
Mewling and puking in the nurse's arms : 
Then the whining sch©©l-boy, with his satchel 
And shining morning face, creeping like snail 
Unwillingly to school : and then the lover, 
Sighing like furnace, with a woeful ballad 
Made to his mistress' eyebrow : then a soldier, 
Full of strange oaths and bearded like the pard, 150 

Jealous in honour, sudden and quick in quarrel, 

Seeking the bubble reputation^^ ' — — ^_-'' 

Even in the cannon's mouth : /and then the justice, 

In fair round belly with good capon lin'd, 
With eyes severe and beard of formal cut, 

Full of wise saws and modern instances; 

And so he plays his part : the sixth age shifts 

Into the lean and slipper'd pantaloon, 

With spectacles on nose and pouch on side, 

His youthful hose well sav'd, a world too wide *6 

For his shrunk shank ; and his big manly voice, 

Turning again toward childish treble, pipes 

And whistles in his sound : last scene of all, 

That ends this strange eventful history. 

Is second childishness and mere oblivion, 

Sans teeth, sans eyes, sans taste, sans every thing. 

Enter Orlando, with Adam. 

Duke Senior. Welcome. Set down your venerable burden, 
And let him feed. 

Orlando, I thank you most for him. 

Adam. So had you need ; 

X scarce can speak to thank you for myself. 170 



ACT II. SCENE VIL 6^ 

Duke Senior. Welcome ; fall to : I will not trouble you 
As yet, to question you about your fortunes. — 
Give us some music ; and, good cousin, sing. 

Song. 

Amiens. Blow^ blow, thou winter windy 
Thou art not so unkind 

As man's ingratitude ; 
Thy tooth is not so keen, 
Because thou art not seen, 
Although thy breath be rude. 
Heigh-ho! sing, heigh-ho! unto the green holly; rso 

Most friendship is feignifig, most loving mere folly c 
Then, heigh-ho, the holly / 
This life is most Jolly I 

Freeze, freeze, thou bitter sky. 
That dost not bite so nigh 

As benefits forgot : 
Though thou the waters warpy 
Thy sting is not so sharp 

As friend remember'' d not. 
Heigh-ho! sing, etc, igo 

Duke Senior. If that you were the good Sir Rowland's son, 
As you have whisper'd faithfully you were, 
And as mine eye doth his effigies witness 
Mo3t truly limn'd and living in your face, 
Be truly welcome hither. I am the duke 
That lov'd your father ; the residue of your fortune, 
Go to my cave and tell me. — Good old man, 
Thou art right welcome as thy master is. — 
Support him by the arm. — Give me your hand, 199 

And let me all your fortunes understand. [Exeunt. 

E 




Hang there, my verse, in witness of my love" (iii. 2. i). 



ACT III. 

Scene I. A Rootn in the Palace. 

Eiiter Duke Frederick, Lords, and Oliver. 

Duke Frederick. Not see him since ? Sir, sir, that cannot be^ 
But were I not the better part made mercy, 
I should not seek an absent argument 
Of my revenge, thou present. But look to it : 
Find out thy brother, wheresoever he is; 
Seek him with candle; bring him dead or living 



ACT III. SCENE IL 67 

Within this twelvemonth, or turn thou no more 

To seek a living in our territory. 

Thy lands and all things that thou dost call thine 

Worth seizure do we seize into our hands, lo 

Till thou canst quit thee by thy brother's mouth 

Of what we think against thee. 

Oliver. O that your highness knew my heart in this ! 
I never lov'd my brother in my life. 

Duke Frederick. More villain thou. — Well, push him out 
of doors ; 
And let my officers of such a nature 
Make an extent upon his house and lands : 
Do this expediently, and turn him going. \Exeunt 

Scene II. The Forest 
Enter Orlando, with a paper, 

Orlando. Hang there, my verse, in witness of my love ; 

And thou, thrice-crowned queen of night, survey 
With thy chaste eye, from thy pale sphere above, 

Thy huntress' name that my full life doth sway. 
O Rosalind ! these trees shall be my books. 

And in their barks my thoughts I '11 character, 
That every eye which in this forest looks 

Shall see thy virtue witness'd every where. 
Run, run, Orlando ; carve on every tree 9 

The fair, the chaste, and unexpressive she. \Exit 

Enter Corin and Touchstone. 

Corin. And how like you this shepherd's life, Master 
Touchstone ? 

Touchstone. Truly, shepherd, in respect of itself, it is a 
good life; but in respect that it is a shepherd's life, it is 
naught. In respect that it is solitary, I like it very well; 
but in respect that it is private, it is a very vile life. Now, 



68 ^S YOU LIKE IT. 

in respect it is in the fields,. it pleaseth me well; but in re- 
spect it is not in the court, it is tedious. As it is a spare 
life, look you, it fits my humour well ; but as there is no 
more plenty in it, it goes much against my stomach. Hast 
any philosophy in thee, shepherd ? 21 

Corin. No more but that I know the more one sickens 
the worse at ease he is; and that he that wants money, 
means, and content is without three good firiends; that the 
property of rain is to wet and fire to burn ; that good past- 
ure makes fat sheep, and that a great cause of the night is 
lack of the sun; that he that hath learned no wit by nature 
nor art may complain of good breeding, or comes of a very 
dull kindred. 

Touchstone. Such a one is a natural philosopher. Wast 
ever in court, shepherd ? 31 

Corin. No, truly. 

Touchstone. Then thou art damned. 

Corin. Nay, I hope, — 

Touchstone. Truly, thou art damned, like an ill -roasted 
egg all on one side. 

Corin. For not being at court ? Your reason. 

Touchstone. Why, if thou never wast at court, thou never 
saw'st good manners; if thou never saw'st good manners, 
then thy manners must be wicked; and wickedness is sin, 
and sin is damnation. Thou art in a parlous state, shep- 
herd. 42 

Corin. Not a whit, Touchstone : those that are good man- 
ners at the court are as ridiculous in the country as the 
behaviour of the country is most mockable at the court. 
You told me you salute not at the court, but you kiss your 
hands : that courtesy would be uncleanly, if courtiers were 
shepherds. 

Touchstone. Instance, briefly; come, instance. 

Corin. Why, we are still handling our ewes; and their 
fells, you know, are greasy. ; 50 



ACT III. SCENE IT. 69 

Touchstone. Why, do not your courtier's hands sweat ? and 
is not the grease of a mutton as wholesome as the sweat of a 
man? Shallow, shallow ! A better instance, I say; come. 

Corin. Besides, our hands are hard. 

Touchstone. Your lips will feel them the sooner. Shallow 
again ! A more sounder instance; come. 

Corin. And they are often tarred over with the surgery of 
our sheep; and would you have us kiss tar? The courtier's 
hands are perfumed with civet. 

Touchstofie. Most shallow man ! thou worms'-meat, in re- 
spect of a good piece of flesh indeed ! Learn of the wise, 
and perpend : civet is of a baser birth than tar, the very 
uncleanly flux of a cat. Mend the instance, shepherd. 63 

Corin. You have too courtly a wit for me ; I '11 rest. 

Touchstone. Wilt thou rest damned? God help thee, shal- 
low man ! God make incision in thee ! thou art raw. 

Corin. Sir, I am a true labourer : I earn that I eat, get 
that I wear; owe no man hate, envy no man's happiness; 
glad of other men's good, content with my harm ; and the 
greatest of my pride is to see my ewes graze and my lambs 
suck. 71 

Touchstone. That is another simple sin in you, to bring the 
ewes and the rams together. If thou be'st not damned for 
this, the devil himself will have no shepherds ; I cannot see 
else how thou shouldst scape. 

Corin. Here comes young Master Ganymede, my new 
mistress's brother. 
/ 
- — r - Enter Rosalind, reading a paper. 

Rosalind. From the east to western Ind^ 
No jewel is like Rosalind. 

Her worth, being mounted on the wind, 80 

Through all the world bears Rosalind. 
All the pictures fairest lin'd 
Are but black to Rosalind. 



-JO AS YOU LIKE IT. 

Let no face be kept in mind 
But the fair of Rosalind. 

Touchstone. I '11 rhyme you so eight years together, din- 
ners and suppers and sleeping -hours excepted : it is the 
right butter -women's rank to market. 
Rosalind. Out, fool ! 

Touchstone. For a taste : yo 

If a hart do lack a hind. 
Let him seek out Rosalind. 
If the cat will after kind. 
So be sure will Rosalind. 
Winter garments must be lin'd. 
So must slender Rosalind. 
They that reap must sheaf and bind; 
Then to cart with Rosalind. 
Sweetest nut hath sourest rind, 
Such a nut is Rosalind. loo 

He that sweetest rose will find 
Must find love's prick and Rosalind. 
This is the very false gallop of verses : why do you infect 
yourself with them ? 

Rosalind. Peace, you dull fool ! I found them on a tree. 
Touchstone. Truly, the tree yields bad fruit. 
Rosalind. I '11 graff it with you, and then I shall graff it 
with a medlar : then it will be the earliest fruit i' the coun- 
try; for you '11 be rotten ere you be half ripe, and that 's 
the right virtue of the medlar. no 

Touchstone. You have said ; but whether wisely or no, let 
the forest judge. 

Enter Celia, with a writing. 

Rosalind. Peace ! 
Here comes my sister, reading : stand aside. 



ACT TIL SCENE IL 7, 

Celia. [Reads] 

Why should this a desert be? 

For it is unpeopled i No; 
Tongues I '// hang on every tree. 

That shall civil sayings show .• 
Some, how brief the life of man 

Huns his erring pilgrimage, 120 

That the stretching of a span 

Buckles in his sum of age; 
Some, of violated votvs 

^Tiuixt the souls offrieiid and friend. 
But upon the fairest boughs^ 

Or at every sentence end, 
Will I Bosalinda write, 

Teaching all that read to know 
The quintessence of every sprite 

Heaven would in little show. 130 

Therefore HeaveJt Nature charged 

That one body should befilVd 
With all graces wide-enlar^d : 

Nature presently distilld 
Helenas cheek, but not her heart, 

Cleopatra's majesty, 
Atalanta^s better part. 

Sad Lucretia^s modesty. 
Thus Rosalind of many parts 

By heavenly synod was devised, 140 

Of ma7iy faces, eyes, and hearts^ 

To have the touches dearest priz* d. 
Heaven would that she these gifts should have, 
And I to live and die her slave, 

Rosalind. O most gentle Jupiter ! what tedious homily of 
love have you wearied your parishioners withal, and never 
cried, ' Have patience, good people !' 



72 



AS YOU LIKE IT, 



Celia. How now I back, friends! — Shepherd, go ofif a little 
—Go with him, sirrah. 

Touchstone. Come, shepherd, let us make an honourable 
retreat ; though not with bag and baggage, yet with scrip 
and scrippage. \Exeunt Corin and Touchstone. 

Celia. Didst thou hear these verses ? 153 

Rosalind. O, yes, I heard them all, and more too ; for 
some of them had in them more feet than the verses would 
bear. 

Celia. That 's no matter : the feet might bear the verses. 

Rosalind. Ay, but the feet were lame and could not bear 
themselves without the verse, and therefore stood lamely in 
the verse. 160 

Celia. But didst thou hear without wondering how thy 
name should be hanged and carved upon these trees? 

Rosalind. I was seven of the nine days out of the wonder 
before you came ; for look here what I found on a palm- 
tree. I was never so be-rhymed since Pythagoras' time, 
that I was an Irish rat, which I can hardly remember. 

Celia. Trow you who hath done this ? 

Rosalind. Is it a man ? 

Celia. And a chain, that you once wore, about his neck? 
Change you colour ? 170 

Rosalind. I prithee, who ? 

Celia. O Lord, Lord! It is a hard matter for friends to 
meet; but mountains may be removed with earthquakes 
and so encounter. 

Rosalitid. Nay, but who is it ? 

Celia. Is it possible 1 

Rosalind. Nay, I prithee now with most petitionary vehe- 
mence, tell me who it is. 

Celia. O wonderful, wonderful, and most wonderful won- 
derful ! and yet again wonderful, and after that, out of all 
whooping ? 181 

Rosalind. Good my complexion ! dost thou think, though 



ACT III. SCENE II. 73 

I am caparisoned like a man, I have a doublet and hose in 
my disposition ? One inch of delay more is a South Sea of 
discovery. I prithee, tell me who is it quickly, and speak 
apace. I would thou couldst stammer, that thou mightst 
pour this concealed man out of thy mouth, as wine comes 
out of a narrow-mouthed bottle, either too much at once, or 
none at all. I prithee, take the cork out of thy mouth, that 
I may drink thy tidings. Is he of God's making? What 
manner of man ? Is his head worth a hat, or his chin worth 
a beard ? 192 

Celia. Nay, he hath but a little beard. 

Rosali7id. Why, God will send more, if the man will be 
thankful : let me stay the growth of his beard, if thou delay 
me not the knowledge of his chin. 

Celia. It is young Orlando, that tripped up the wrestler's 
heels and your heart both in an instant. 

Rosalind. Nay, but the devil take mocking! speak sad 
brow and true maid. 200 

Celia. V faith, coz, 't is he. 

Rosalind. Orlando.'' 

Celia. Orlando. 

Rosalind. Alas the day ! what shall I do with my doublet 
and hose ? — What did he when thou sawest him ? What 
said he ? How looked he .'' Wherein went he ? What 
makes he here ? Did he ask for me ? Where remains he ? 
How parted he with thee ? and when shalt thou see him 
again t Answer me in one word. 

Celia. You must borrow me Gargantua's mouth first : 't is 
a word too great for any mouth of this age's size. To say 
ay and no to these particulars is more than to answer in a 
catechism. 213 

Rosalind. But doth he know that I am in this forest and 
in man's apparel? Looks he as freshly as he did the day 
he wrestled ? 

Celia. It is as easy to count atomies as to resolve the 



m4 as voc/ like it. 

propositions of a lover ; but take a taste of my finding him, 
and relish it with good observance. I found him under a 
tree, like a dropped acorn. 220 

Rosalind. It may well be called Jove's tree, when it 
drops forth such fruit. 

Celia. Give me audience, good madam. 

Rosalmd. Proceed. 

Celia. There lay he, stretched along, like a wounded 
knight. 

Rosalijid. Though it be pity to see such a sight, it well 
becomes the ground. 

Celia. Cry ' holla ' to thy tongue, I prithee ; it curvets 
unseasonably. He was furnished like a hunter. 230 

Rosalind. O, ominous ! he comes to kill my heart. 

Celia. I would sing my song without a burden : thou 
bringest me out of tune. 

Rosalind. Do you not know I am a woman ? when I 
think, I must speak. Sweet, say on. 

Celia. You bring me out. — Soft ! comes he not here ? 

Enter Orlando and Jaques. 

Rosalifid. 'T is he : slink by, and note him. 

jaques. I thank you for your company ; but, good faith, 
I had as lief have been myself alone. 

Orlando. And so had I ; but yet, for fashion sake, I thank 
you too for your society. 241 

jfaques. God be wi' you : let 's meet as little as we can. 

Orlando. I do desire we may be better strangers. 

Jaques. I pray you, mar no more trees with writing love- 
songs in their barks. 

Orlando. I pray you, mar no moe of my verses with read- 
ing them ill-favouredly. 

Jaques. Rosalind is your love's name ? 

Orlando. Yes, just. 

Jaques. I do not like ber name. ajo 



ACT III. SCENE II. 75 

Orlando. There was no thought of pleasing you when she 
was christened. 

yaques. What stature is she of? 

Orlando. Just as high as my heart. 

jfaques. You are full of pretty answers. Have you not 
been acquainted with goldsmiths' wives, and conned them 
out of rings ? 

Orlando. Not so ; but I answer you right painted cloth, 
from whence you have studied your questions. 259 

yaques. You have a nimble wit : I think 't was made of 
Atalanta's heels. Will you sit down with me? and we two 
will rail against our mistress the world and all our misery. 

Orlando. I will chide no breather in the world but my- 
self, against whom I know most faults. 

jfaques. The worst fault you have is to be in love. 

Orlando. 'T is a fault I will not change for your best 
virtue. I am weary of you. 

yaques. By my troth, I was seeking for a fool when I 
found you. 

Orlando. He is drowned in the brook ; look but in, and 
you shall see him. 271 

yaques. There I shall see mine own figure. 

Orlando. Which I take to be either a fool or a cipher. 

yaques. I '11 tarry no longer with you : farewell, good Sig- 
nior Love. 

Orlando. I am glad of your departure : adieu, good Mon- 
sieur Melancholy. \Exit yaques. 

Rosalind. [Aside to Celid\ I will speak to him like a saucy 
lackey, and under that habit play the knave with him. — Do 
you hear, forester ? 280 

Orlando. Very well : what would you ? 

Rosalind. I pray you, what is 't o' clock ? 

Orlando. You should ask me what time o' day ; there 's 
no clock in the forest. 

Rosalind. Then there is no true lover in the forest; else 



76 AS YOU LIKE IT, 

sighing every minute and groaning every hour would detect 
the lazy foot of Time as well as a clock. 

Orlando. And why not the swift foot of Time ? had not 
that been as proper ? 289 

Rosalind. By no means, sir : Time travels in divers paces 
with divers persons. I '11 tell you who Time ambles withal, 
who Time trots withal, who Time gallops withal, and who he 
stands still withal. 

Orlando. I prithee, who doth he trot withal? 

Rosalind. Marry, he trots hard with a young maid between 
the contract of her marriage and the day it is solemnized : 
if the interim be but a se'nnight, Time's pace is so hard that 
it seems the length of seven year. 

Orlando. Who ambles Time withal ? 299 

Rosalind. With a priest that lacks Latin, and a rich man 
that hath not the gout ; for the one sleeps easily because he 
cannot study, and the other lives merrily because he feels no 
pain; the one lacking the burden of lean and wasteful learn- 
ing, the other knowing no burden of heavy tedious penury : 
these Time ambles withal. 

Orlando. Who doth he gallop withal ? 

Rosalind. With a thief to the gallows \ for though he go 
as softly as foot can fall, he thinks himself too soon there. 

Orlando. Who stays it still withal? 309 

Rosalind. With lawyers in the vacation ; for they sleep 
between term and term, and then they perceive not how 
Time moves. 

Orlando. Where dwell you, pretty youth ? 

Rosalind. With this shepherdess, my sister; here in the 
skirts of the forest, like fringe upon a petticoat. 

Orlando. Are you native of this place? 

Rosalind. As the cony that you see dwell where she is 
kindled. 

Orlando. Your accent is something finer than you could 
purchase in so removed a dwelling. 320 



ACT III. SCENE II. yy 

Rosalind. I have been told so of many: but indeed an old 
religious uncle of mine taught me to speak, who was in his 
youth an inland man ; one that knew courtship too well, for 
there he fell in love. I have heard him read many lectures 
against it, and I thank God I am not a woman, to be 
touched with so many giddy offences as he hath gener- 
ally taxed their whole sex withal. 

Orlando. Can you remember any of the principal evils 
that he laid to the charge of women ? 329 

Rosalind. There were none principal ; they were all like 
one another as half- pence are, every one fault seeming 
monstrous till his fellow-fault came to match it. 

Orlando. I prithee, recount some of them. 

Rosalind. No, I will not cast away my physic but on 
those that are sick. There is a man haunts the forest, that 
abuses our young plants with carving Rosalind on their 
barks; hangs odes upon hawthorns and elegies on brambles, 
all, forsooth, deifying the name of Rosalind : if I could meet 
that fancy-monger, I would give him some good counsel, for 
he seems to have the quotidian of love upon him. 340 

Orlando. I am he that is so love-shaked ; I pray you, tell 
me your remedy. 

Rosalind. There is none of my uncle's marks upon you: 
he taught me how to know a man in love ; in which cage 
of rushes I am sure you are not prisoner. 

Orlando. What were his marks t 

Rosalind. A lean cheek, which you have not; a blue eye 
and sunken, which you have not > an unquestionable spirit, 
which you have not; a beard neglected, which you have 
not ; but I pardon you for that, for simply your having in 
beard is a younger brother's revenue : then your hose 
should be ungartered, your bonnet unhanded, your sleeve 
unbuttoned, your shoe untied, and every thing about you 
demonstrating a careless desolation. But you are no such 
man ; you are rather point-device in your accoutrements, as 
loving yourself than seeming the lover of any other. 355 



^8 AS YOU LIKE IT. 

Orlando. Fair youth, I would I could make thee believe I 
love. 

Rosalind. Me believe it ! you may as soon make her that 
you love believe it ; which, I warrant, she is apter to do than 
to confess she does : that is one of the points in the which 
women still give the lie to their consciences. But, in good 
sooth, are you he that hangs the verses on the trees, wherein 
Rosalind is so admired ? 364 

Orlando. I swear to thee, youth, by the white hand of 
Rosalind, I am that he, that unfortunate he. 

Rosalind. But are you so much in love as your rhymes 
speak ? 

Orlando. Neither rhyme nor reason can express how 
much. 370 

Rosalind. Love is merely a madness, and, I tell you, de- 
serves as well a dark house and a whip as madmen do ; and 
the reason why they are not so punished and cured is, that 
the lunacy is so ordinary that the whippers are in love too. 
Yet I profess curing it by counsel. 37s 

Orlando. Did you ever cure any so ? 

Rosalind. Yes, one, and in this manner. He was to im- 
agine me his love, his mistress ; and I set him every day to 
woo me : at which time would I, being but a moonish youth, 
grieve, be effeminate, changeable, longing and liking, proud, 
fantastical, apish, shallow, inconstant, full of tears, full of 
smiles, for every passion something and for no passion truly 
any thing, as boys and women are for the most part cattle 
of this colour ; would now like him, now loathe him ; then 
entertain him, then forswear him ; now weep for him, then 
spit at him ; that I drave my suitor from his mad humour 
of love to a living humour of madness ; which was, to for- 
swear the full stream of the world, and to live in a nook 
merely monastic. And thus I cured him ; and this way 
will I take upon me to wash your liver as clean as a sound 
sheep's heart, that there shall not be one spot of love in \ 



ACT III. SCENE I IT, ^o 

Orlando. I would not be cured, youth. 392 

Rosalind. I would cure you, if you would but call me 

Rosalind and come every day to my cote and woo me. 
Orlando. Now, by the faith of my love, I will ; tell me 

where it is. 

Rosalind. Go with me to it and I '11 show it you ; and by 

the way you shall tell me where in the forest you live. Will 

you go ? 

Orlando. With all my heart, good youth. 400 

Rosalind. Nay, you must call me Rosalind. — Come, sister, 

will you go ? lExeunt. 

Scene III. The Forest. 
Enter Touchstone and Audrey ; Jaques behind. 

Touchstone. Come apace, good Audrey: I will fetch up 
your goats, Audrey. And how, Audrey.? am I the man 
yet ? doth my simple feature content you ? 

Audrey. Your features 1 Lord warrant us ! what features? 

Touchstone. I am here with thee and thy goats, as the 
most capricious poet, honest Ovid, was among the Goths. 

Jaques. [Aside] O knowledge ill - inhabited, worse than 
Jove in a thatched house ! 8 

Touchstone. When a man's verses cannot be understood, 
nor a man's good wit seconded with the forward child 
Understanding, it strikes a man more dead than a great 
reckoning in a little room. Truly, I would the gods had 
made thee poetical. 

Audrey. I do not know what poetical is : is it honest in 
deed and word ? is it a true thing ? 

Touchstone. No, truly ; for the truest poetry is the most 
feigning; and lovers are given to poetry, and what they 
swear in poetry may be said as lovers they do feign. 

Audrey, Do you wish then that the gods had made me 
poetical ? 20 



8o AS YOU LIKE IT. 

Touchstone. I do, truly ; for thou swear'st to me thou art 
honest : now, if thou wert a poet, I might have some hope 
thou didst feign. 

Audrey. Would you not have me honest ? 

Touchstone. No, truly, unless thou wert hard-favoured; 
for honesty coupled to beauty is to have honey a sauce to 
sugar. 

Jaques. [Aside] A material fool ! 

Audrey. Well, I am not fair; and therefore I pray the 
gods make me honest ! 3° 

Touchstone. Truly, and to cast away honesty upon a foul 
slut were to put good meat into an unclean dish. 

Audrey. I am not a slut, though I thank the gods I am 
foul. 

Touchstone. Well, praised be the gods for thy foulness ! 
sluttishness may come hereafter. But be it as it may be, 
I will marry thee, and to that end I have been with Sir 
Oliver Martext, the vicar of the next village, who hath 
promised to meet me in this place of the forest and to 
couple us. 40 

jaques. [Aside] I would fain see this meeting. 

Audrey. Well, the gods give us joy ! 

Touchstone. Amen ! A man may, if he were of a fearful 
heart, stagger in this attempt ; for here we have no temple 
but the wood, no assembly but horn-beasts. But what 
though ? Courage ! As horns are odious, they are neces- 
sary. It is said, ' many a man knows no end of his goods :' 
right ! many a man has good horns, and knows no end of 
them. Well, that is the dowry of his wife ; 't is none of his 
own getting. Are horns given to poor men alone? No, 
no ; the noblest deer hath them as huge as the rascal. Is 
the single man therefore blessed? No: as a walled town 
is more worthier than a village, so is the forehead of a mar- 
ried man more honourable than the bare brow of a bach- 
elor ; and by how much defence is better than no skill, by 



ACT III, SCENE III. 8 1 

SO much is a horn more precious than to want. Here 
comes Sir Oliver. — S7 

Enter Sir Oliver Martext. 
Sir Oliver Martext, you are well met : will you dispatch us 
here under this tree, or shall we go with you to your chapel ? 

Sir Oliver. Is there none here to give the woman ? 60 

Touchstone. I will not take her on gift of any man. 

Sir Oliver. Truly, she must be given, or the marriage is 
not lawful. 

Jaques. \_Advancing\ Proceed, proceed : I '11 give her. 

Touchstone. Good even, good Master What-ye-call-'t : how 
do you, sir .? You are very well met : God 'ield you for your 
last company : I am very glad to see you \ — even a toy in 
hand here, sir: — nay, pray be covered. 

Jaques. Will you be married, motley.? 

Touchstone. As the ox hath his bow, sir, the horse his 
curb, and the falcon her bells, so man hath his desires ; and 
as pigeons bill, so wedlock would be nibbling. 72 

Jaques. And will you, being a man of your breeding, be 
married under a bush like a beggar? Get you to church, 
and have a good priest that can tell you what marriage is : 
this fellow will but join you together as they join wainscot; 
then one of you will prove a shrunk panel and, like green 
timber, warp, warp. 

Touchstone. \Aside\ I am not in the mind but I were bet- 
ter to be married of him than of another : for he is not like 
to marry me well ; and not being well married, it will be a 
good excuse for me hereafter to leave my wife. 82 

yaques. Go thou with me, and let me counsel thee. 

Touchstone. Come, sweet Audrey. — 
Farewell, good Master Oliver : not — 
' O sweet Oliver, 
O brave Oliver, 
Leave me not behind thee .-* 
F 



82 AS YOU LIKE IT. 

' Wind away, 90 

Begone, I say, 
I will not to wedding with thee* 

[Exeunt jfaques. Touchstone, and Audrey, 

Sir Oliver. 'T is no matter : ne'er a fantastical knave of 

them all shall flout me out of my calling. [Exit. 

Scene IV. l^he Forest. Before a Cottage. 
Enter Rosalind and Celia. 

Rosalind. Never talk to me ; I will weep. 

Celia. Do, I prithee ; but yet have the grace to consider 
that tears do not become a man. 

Rosalind. But have I not cause to weep ? 

Celia. As good cause as one would desire ; therefore 
weep. 

Rosalind. His very hair is of the dissembling colour. 

Celia. Something browner than Judas's : marry, his kisses 
are Judas's own children. 

Rosalind. I' faith, his hair is of a good colour. 10 

Celia. An excellent colour: your chestnut was ever the 
only colour. 

Rosalind. And his kissing is as full of sanctity as the 
touch of holy bread. 

Celia. He hath bought a pair of cast lips of Diana : a 
nun of winter's sisterhood kisses not more religiously ; the 
very ice of chastity is in them. 

Rosalind. But why did he swear he would come this morn- 
ing, and comes not? 

Celia. Nay, certainly, there is no truth in him. 20 

Rosalind. Do you think so ? 

Celia. Yes : I think he is not a pick-purse nor a horse- 
stealer; but for his verity in love, I do think him as con- 
cave as a covered goblet or a worm-eaten nut. 



ACT III. SCENE IV. S3 

Rosalind. Not true in love ? 

Celia. Yes, when he is in ; but I think he is not in. 

Rosalind. You have heard him swear downright he was. 

Celia. Was is not is : besides, the oatli of a lover is no 
stronger than the word of a tapster ; they are both the con- 
firmer of false reckonings. He attends here in the forest 
on the duke your father. 31 

Rosalind. I met the duke yesterday and had much ques- 
tion with him. He asked me of what parentage I was: I 
told him, of as good as he ; so he laughed and let me go. 
But what talk we of fathers, when there is such a man as 
Orlando ? 

Celia. O, that 's a brave man ! he writes brave verses, 
speaks brave words, swears brave oaths, and breaks them 
bravely, quite traverse, athwart the heart of his lover ; as a 
puisny tilter, that spurs his horse but on one side, breaks 
his staff like a noble goose. But all 's brave that youth 
mounts and folly guides. — Who comes here? 42 

Enter Corin. 

Conn. Mistress and master, you have oft inquir'd 
After the shepherd that complain'd of love, 
Who you saw sitting by me on the turf. 
Praising the proud disdainful shepherdess 
That was his mistress. 

Celia. Well, and what of him .? 

Corin. If you will see a pageant truly play'd, 
Between the pale complexion of true love 
And the red glow of scorn and proud disdain, 50 

Go hence a little and I shall conduct you, 
If you will mark it. 

Rosali7td. O, come, let us remove : 

The sight of lovers feedeth those in love. — 
Bring us to see this sight, and you shall say 
I '11 prove a busy actor in their play, \Exeunt 



84 AS YOU LIKE IT. 



Scene V, Another Part of the Forest 
Enter Silvius and Phebe. 

Silvius. Sweet Phebe, do not scorn me \ do not, Phebe 
Say that you love me not, but say not so 
In bitterness. The common executioner, 
Whose heart the accustom'd sight of death makes hard, 
Falls not the axe upon the humbled neck 
But first begs pardon : will you sterner be 
Than he that dies and lives by bloody drops ? 

Enter Rosalind, Celia, and Corin, behind, 

Phebe. I would not be thy executioner ; 
I fly thee, for I would not injure thee. 
Thou tell'st me there is murther in mine eye ; 
'T is pretty, sure, and very probable. 
That eyes, that are the frail'st and softest things. 
Who shut their coward gates on atomies. 
Should be call'd tyrants, butchers, murtherers ? 
Now I do frown on thee with all my heart ; 
And if mine eyes can wound, now let them kill thee: 
Now counterfeit to swoon; why, now fall down; 
Or if thou canst not, O, for shame, for shame, 
Lie not, to say mine eyes are murtherers ! 
Now show the wound mine eye hath made in thee : 
Scratch thee but with a pin, and there remains 
Some scar of it ; lean but upon a rush, 
The cicatrice and capable impressure 
Thy palm some moment keeps ; but now mine eyes, 
Which I have darted at thee, hurt thee not, 
Nor, I am sure, there is no force in eyes 
That can do hurt. 

Silvius. O dear Phebe, 

If ever — as that ever may be near— 



ACT in. SCENE V. 85 

You meet in some fresh cheek the power of fancy, 

Then shall you know the wounds invisible 30 

That love's keen arrows make. 

Fhebe. But till that time 

Come not thou near me : and when that time come$. 
Afflict me with thy mocks, pity me not ; 
As till that time I shall not pity thee. 

Rosalind. [Advancing] And why, I pray you ? Who might 
be your mother, 
That you insult, exult, and all at once, 
Over the wretched ? What though you have no beauty, — 
As, by my faith, I see no more in you 
Than without candle may go dark to bed, — 
Must you be therefore proud and pitiless? 40 

Why, what means this ? Why do you look on me ? 
I see no more in you than in the ordinary 
Of nature's sale-work. — 'Od 's my little life, 
I think she means to tangle my eyes too ! — 
No, faith, proud mistress,- hope not after it : 
'T is not your inky brows, your black silk hair, 
Your bugle eyeballs, nor your cheek of cream, 
That can entame my spirits to your worship. — 
You foolish shepherd, wherefore do you follow her, 
Like foggy south puffing with wind and rain ? 50 

You are a thousand times a properer man 
Than she a woman : 't is such fools as you 
That makes the world full of ill-favour'd children; 
'T is not her glass, but you, that flatters her ; 
And out of you she sees herself more proper 
Than any of her lineaments can show her. — 
But, mistress, know yourself; down on your knees. 
And thank heaven, fasting, for a good man's love: 
For I must tell you friendly in your ear. 
Sell when you can ; you are not for all markets : 60 

Cry the man mercy ; love him ; take his offer : 



86 AS YOU LIKE IT, 

Foul is most foul, being foul to be a scoffer.— 
So take her to thee, shepherd : fare you well. 

Phebe. Sweet youth, I pray you, chide a year together; 
I had rather hear you chide than this man woo. 

Rosalind. He 's fallen in love with your foulness, and 
she '11 fall in love with my anger. — If it be so, as fast as 
she answers thee with frowning looks, I '11 sauce her with 
bitter words. — Why look you so upon me ? 

Phebe, For no ill will I bear you. ?<> 

Rosalind. I pray you, do not fall in love with me, 
For I am falser than vows made in wine : 
Besides, I like you not. — If you will know my house, 
'T is at the tuft of olives here hard by. — 
Will you go, sister ? — Shepherd, ply her hard. — 
Come, sister.— Shepherdess, look on him better. 
And be not proud ; though all the world could see, 
None could be so abus'd in sight as he. — 
Come, to our flock. \Exeunt Rosalind, Celia, and Corin. 

Phebe. Dead shepherd, now I find thy saw of might, So 
* Who ever lov'd that lov'd not at first sight V 

Silvius. Sweet Phebe, — 

Phebe. Ha, what say'st thou, Silvius ? 

Silvius. Sweet Phebe, pity me. 

Phebe. Why, I am sorry for thee, gentle Silvius. 

Silvius. Wherever sorrow is, relief would be : 
If you do sorrow at my grief in love. 
By giving love your sorrow and my grief 
Were both extermin'd. 

Phebe. Thou hast my love ; is not that neighbourly? 

Silvius, I would have you. 

Phebe. Why, that were covetousness. 

Silvius, the time was that I hated thee, 91 

And yet it is not that I bear thee love ; 
But since that thou canst talk of love so well, 
Thy company, which erst was irksome to me, 



ACT III. SCENE F, g^ j 

I will endure, and I '11 employ thee too : i 

But do not look for further recompense ; 

Than thine own gladness that thou art employed. i 

Silvius. So holy and so perfect is my love, i 

And I in such a poverty of grace, \ 

That I shall think it a most plenteous crop loo j 

To glean the broken ears after the man ^ 

That the main harvest reaps ; loose now and then ' 

A scatter'd smile, and that I '11 live upon. ^ 

Fhehe. Know'st thou the youth that spoke to me erewhile? ' 

Silvius. Not very well, but I have met him oft ; ' 
And he hath bought the cottage and the bounds 

That the old carlot once was master of. '\ 

Fhebe. Think not I love him, though I ask for him ; ! 

*T is but a peevish boy ; yet he talks well : \ 

But what care I for words ? yet words do well uo \ 

When he that speaks them pleases those that hear. \ 

It is a pretty youth — not very pretty : \ 

But, sure, he 's proud, and yet his pride becomes him. i 

He '11 make a proper man : the best thing in him '- 
Is his complexion ; and faster than his tongue 
Did make offence his eye did heal it up. 

He is not very tall ; yet for his years he 's tall: \ 

His leg is but so-so; and yet 't is well: | 

There was a pretty redness in his lip, \ 

A little riper and more lusty red ,ag \ 

Than that mix'd in his cheek ; \ was Just the difference J 

Betwixt the constant red and mingled damask. \ 

There be some women, Silvius, had they mark'd him \ 

In parcels as I did, would have gone near 'J 

To fall in love with him : but, for my part, \ 

I love him not nor hate him not ; and yet ■ 
I have more cause to hate him than to love him : 

For what had he to do to chide at me ? \ 
He said mine eyes were black and my hair black, 



88 



AS YOU LIKE IT. 



And, now I am remembered, scorn'd at me. 130 

I marvel why I answer'd not again : 

But that 's all one ; omittance is no quittance. 

I 'U write to him a very taunting letter, 

And thou shalt bear it: wilt thou, Silvius? 

Silvius, Phebe, with all my heart. 

Phebe. 1 'U write it straight; 

The matter 's in my head and in my heart : 
I will be bitter with him and passing short. 



Go with me, Silvius, 



\^Exeunt. 





ACT IV. 

Scene I. The Forest 
Enter Rosalind, Celia, and Jaques. 

yaqiies, I prithee, pretty youth, let me be better ac 
quainted with thee. - 

Rosalind. They say you are a melancholy fellow. 
yaques. I am so ; I do love it better than laughing. 



90 



AS YOU LIKE IT. 



Rosalind. Those that are in extremity of either are abom- 
inable fellows, and betray themselves to every modern cen- 
sure worse than drunkards. 

Jaques. Why, 't is good to be sad and say nothing. 

Rosalind. Why then, 't is good to be a post. s 

yaqiies. I have neither the scholar's melancholy, which is 
emulation ; nor the musician's, which is fantastical ; nor the 
courtier's, which is proud; nor the soldier's, which is am- 
bitious ; nor the lawyer's, which is politic ; nor the lady's, 
which is nice ; nor the lover's, which is all these : but it is' 
a melancholy of mine own, compounded of many simples, 
extracted from many objects, and indeed the sundry con- 
templation of my travels, in which my often rumination 
wraps me in a most humorous sadness. 

Rosalind. A traveller I By my faith, you have great 
reason to be sad. I fear you have sold your own lands to 
see other men's ; then, to have seen much and to have 
nothing, is to have rich eyes and poor hands. 22 

jfaqiies. Yes, I have gained my experience. 

Rosalind. And your experience makes you sad. I had 
rather have a fool to make me merry than experience to 
make me sad; and to travel for it too I 

Enter Orlando. 

Orlando. Good day and happiness, dear Rosalind I 

Jaques. Nay, then God be wi' you, an you talk in blank 

verse. \Exit. 

Rosalind. Farewell, Monsieur Traveller: look you lisp 

and wear strange suits, disable all the benefits of your 

own country, be out of love with your nativity, and almost 

chide God for making you that countenance you are, or I 

will scarce think you have swam in a gondola. — Why, how 

now, Orlando 1 where have you been all this while ? You 

a lover! An you serve me such another trick, never come 

in my sight more. 37 



ACT fV. SCENE I. 



9» 



Orlando. My fair Rosalind, I come Vvrithin an hour of my 
promise. 

Rosalind. Break an hour's promise in love! He that 
will divide a minute into a thousand parts, and break but 
a part of the thousandth part of a minute in the affairs of 
love, it may be said of him that Cupid hath clapped him 
o' the shoulder, but I '11 warrant him heart-whole. 44 

Orlando. Pardon me, dear Rosalind. 

Rosalind. Nay, an you be so tardy, come no more in my 
sight; I had as lief be wooed of a ^nail. 

Orlando. Of a snail ? 

Rosalind. Ay, of a snail ; for though he comes slowly, he 
carries his house on his head, — a better jointure, I think, 
than you can make a woman : besides, he brings his destiny 
with him. 52 

Orlando. What 's that ? 

Rosalind. Why, horns, which such as you are fain to be 
beholding to your wives for; but he comes armed in his 
fortune and prevents the slander of his wife. 

Orlando. Virtue is no horn-maker; and my Rosalind is 
virtuous. 

Rosalind. And I am your Rosalind. 

Celia. It pleases him to call you so ; but he hath a Rosa- 
lind of a better leer than you. ti 

Rosalind. Come, woo me, woo me, for now I am in a holi- 
day humour and like enough to consent. What would you 
say to me now, an I were your very very Rosalind ? 

Orlando. I would kiss before I spoke. 

Rosalind. Nay, you were better speak first, and when you 
were gravelled for lack of matter you might take occasion 
to kiss. Very good orators, when they are out, they will 
spit ; and for lovers lacking — God warn us ! — matter, the 
cleanliest shift is to kiss. 7a 

Orlando. How if the kiss be denied ? 

Rosalind. Then she puts you to entreaty, and there be- 
gins new matter. 



92 AS YOU- LIKE IT. 

Orlando. Who could be out, being before his beloved 
mistress ? 

Rosalind. Marry, that should you, if I were your mistress, 
or I should think my honesty ranker than my wit. 

Orlando, What, of my suit ? 

Rosalind. Not out of your apparel, and yet out of your 
suit. Am not I your Rosalind? sa 

Orlando. I take some joy to say you are, because I would 
be talking of her. 

Rosalind. Well, in her, person I say I will not have you. 

Orlando. Then in mine own person I die. 

Rosalind. No, faith, die by attorney. The poor world is 
almost six thousand years old, and in all this time there was 
not any man died in his own person, videlicet, in a love- 
Cause. Troilus had his brains dashed out with a Grecian 
club ; yet he did what he could to die before, and he is one 
of the patterns of love. Leander, he would have lived many 
a fair year, though Hero had turned nun, if it had not been 
for a hot midsummer night: for, good youth, he went but 
forth to wash him in the Hellespont, and being taken with 
the cramp was drowned; and the foolish chroniclers of that 
age found it was — Hero of Sestos. But these are all lies j 
men have died from time to time, and worms have eaten 
them, but not for love. 97 

Orlando. I would not have my right Rosalind of this 
mind, for, I protest, her frown might kill me. 

Rosalind. By this hand, it will not kill a fly. But come, 
now I will be your Rosalind in a more coming-on disposi- 
Uon, and ask me what you will, I will grant it. 102 

Orlando. Then love me, Rosalind. 

Rosalind. Yes, faith, will I, Fridays and Saturdays and all. 

Orlafido. And wilt thou have me? 

Rosalind. Ay, and twenty such. 

Orlando. What sayest thou? 

Rosalind. Are you not good? 



ACT IV. SCENE /. 93 

Orlando. I hope so. 

Rosalind. Why then, can one desire too much of a good 
thing ? — Come, sister, you shall be the priest and marry us. 
— Give me your hand, Orlando. — What do you say, sister? 

Orlando. Pray thee, marry us. 113 

Celia. I cannot say the words. 

Rosali?id. You must begin, 'Will you, Orlando — ' 

Celia. Go to. — Will you, Orlando, have to wife this Rosa- 
lind? 

Orlando. I will. 

Rosalind. Ay, but when ? 

Orlando. Why now ; as fast as she can marry us. w* 

Rosalind. Then you must say * I take thee, Rosalind, for 
wife.' 

Orlando. I take thee, Rosalind, for wife. 

Rosalind. I might ask you for your commission ; but I do 
take thee, Orlando, for my husband. There 's a girl goes 
before the priest ; and certainly a woman's thought runs 
before her actions. 

Orlando. So do all thoughts ; they are winged. 

Rosalind. Now tell me how long you would have her after 
you have possessed her. 130 

Orlando. For ever and a day. 

Rosalind. Say a day, without the ever. No, no, Orlando: 
men are April when they woo, December when they wed; 
maids are May when they are maids, but the sky changes 
when they are wives. I will be more jealous of thee than a 
Barbary cock-pigeon over his hen, more clamorous than a 
parrot against rain, more new-fangled than an ape, more 
giddy in my desires than a monkey. I will weep for noth- 
ing, like Diana in the fountain, and I will do that when you 
are disposed to be merry ; I will laugh like a h^^en, and that 
when thou art inclined to sleep. 141 

Orla7ido. But will my Rosalind do so ? 

Rosalind. By my life, she will do as I do. 



g^ AS YOU LIKE IT, ^ 

Orlando. O, but she is wise. 

Rosalind. Or else she could not have the wit to do this; 
the wiser, the waywarden Make the doors upon a woman's 
wit, and it will out at the casement; shut that, and 't will 
out at the key-hole ; stop that, 't will fly with the smoke out 
at the chimney. 

Orlando. A man that had a wife with such a wit, he might 
say ' Wit, whither wilt ?* 151 

Rosalind. Nay, you might keep that check for it till you 
met your wife's wit going to your neighbour's bed. 

Orlando. And what wit could wit have to excuse that? 

Rosalind. Marry, to say she came to seek you there/ 
You shall never take her without her answer, unless you 
take her without her tongue. O, that woman that cannot 
make her fault her husband's occasion, let her never nurse 
her child herself, for she will breed it like a fool I 

Orlando. For these two hours, Rosalind, I will leave 
thee. i6t 

Rosalind. Alas ! dear love, I cannot lack thee two hours. 

Orlando. I must attend the duke at dinner; by two 
o'clock I will be with thee again. 

Rosalind. Ay, go your ways, go your ways ; I knew what 
you would prove: my friends told me as much, and I 
thought no less. That flattering tongue of yours won me : 
*t is but one cast away, and so, come, death! — Two o'clock 
is your hour? 

Orlando. Ay, sweet Rosalind. 170 

Rosalind. By my troth, and in good earnest, and so God 
mend me, and by all pretty oaths that are not dangerous, 
if you break one jot of your promise or come one minute 
behind your hour, I will think you the most pathetical 
break-promise, and the most hollow lover, and the most 
unworthy of her you call Rosalind, that may be chosen out 
of the gross band of the unfaithful : therefore beware my 
gensure and keep your promise. 



ACT IV. SCENE II. 



95 



Orlando. With no less religion than if thou wert indeed 
my Rosalind : so adieu. iSo 

Rosalind. Well, Time is the old justice that examines all 
such offenders, and let Time try: adieu. \Exit Orlando. 

Celia. You have simply misused our sex in your love- 
prate : we must have your doublet and hose plucked over 
your head, and show the world what the bird hath done to 
her own nest. 

Rosalind, O coz, coz, coz, my pretty little coz, that thou 
didst know how many fathom deep I am in love ! But it 
cannot be sounded ; my affection hath an unknown bottom, 
like the bay of Portugal. 190 

Celia. Or rather, bottomless, that as fast as you pour af- 
fection in, it runs out. 

Rosali?td. No, that same wicked bastard of Venus that 
was begot of thought, conceived of spleen, and born of 
madness, that blind rascally boy that abuses every one's 
eyes because his own are out, let him be judge how deep 
I am in love. I '11 tell thee, Aliena, I cannot be out of 
the sight of Orlando : I '11 go find a shadow, and sigh till 
he come. 199 

Celia. And I '11 sleep. [Exeunt, 

Scene II. The Forest 
Enter Jaques, Lords, and Foresters. 

yaques. Which is he that killed the deer? 

A Lord. Sir, it was I. 

Jaques. Let 's present him to the duke, like a Roman 
conqueror , and it would do well to set the deer's horns 
upon his head, for a branch of victory. Have you no song, 
forester, for this purpose ? 

Forester. Yes, sir. 

Jaques. Sing it ; 't is no matter how it be in tune, so it 
make noise enough. 



gO ^S YOU LIKE IT, 

Song. 

Forester. What shall he have that kilVd the deer f u 

His leather skin and horns to wear. 

Then sing him home. 

[The rest shall bear this burthen 
Take thou no scorn to wear the horn ; 
It was a crest ere thou wast born ; 

Thy father' s father wore ity 

And thy father bore it : 
The horn, the horn, the lusty horn 
Is not a thing to laugh to scorn. [Exeunt 

Scene III. The Forest. 
Enter Rosalind a7id Celia. 

Rosalind. How say you now? Is it not past two o'clock? 
and here much Orlando 1 

Celia. I warrant you, with pure love and troubled brain, 
he hath ta'en his bow and arrows and is gone forth— to 
sleep. Look, who comes here. 

Efiter SiLVius. 

Silvius. My errand is to you, fair youth j 
My gentle Phebe bid me give you this. 
I know not the contents ; but, as I guess 
By the stern brow and waspish action 

Which she did use as she was writing of it, lo 

It bears an angry tenour. Pardon me, 
I am but as a guiltless messenger. 

Rosalind. Patience herself would startle at this letter 
And play the swaggerer ; bear this, bear all : 
She says I am not fair, that I lack manners ; 
She calls me proud, and that she could not love me, 
Were man as rare as phoenix. 'Od's my will 1 
Her love is not the hare that I do hunt : 



ACT IV. SCENE III, 97 ! 

Why writes she so to me? — Well, shepherd, well, i 

This IS a letter of your own device. 20 \ 

Silvius. No, I protest, I know not the contents ; i 
Phebe did write it. 

Rosalind. Come, come, you are a fool, ■ 
A.nd turn'd into the extremity of love. 

[ saw her hand ; she has a leathern hand, \ 

A freestone-colour'd hand : I verily did think \ 

That her old gloves were on, but 't was her hands \ 

She has a huswife's hand ; but that 's no matter; \ 
I say she never did invent this letter ; 
This is a man's invention and his hand. 

Silvius, Sure, it is hers. 30 \ 

Rosalind. Why, 't is a boisterous and a cruel style, , 

A style for challengers ; why, she defies me, \ 

Like Turk to Christian: woman's gentle brain ; 

("ould not drop forth such giant-rude invention, \ 

Such Ethiope words, blacker in their effect \ 

Than in their countenance. Will you hear the letter? J 

Silvius. So please you, for I never heard it yet, ; 

Vet heard too much of Phebe's cruelty. i 

Rosalind. She Phebes me : mark how the tyrant writes. i 

[Reads] Art thou god to shepherd turft^d, 40 | 

That a maiden^ s heart hath burned 7- — \ 

Can a woman rail thus? I 

Silvius. Call you this railing ? \ 

Rosalind. [Reads] \ 

IVhy, thy godhead laid apart, 

JVarr'st thou with a woman's heart f-^ \ 

Did you ever hear such railing ? — \ 

Whiles the eye of man did woo me^ \ 

That could do no vengeance to me.-^ I 

Meaning me a beast. — j 

If the scorn of your bright eyne 50 i 

Have power to raise such love in mine, "\ 

G \ 



98 AS YOU LIKE IT. 

Alack, in me what strange effect 

Would they work in mild aspect? 
Whiles you chid me, I did love ; 

How then might your prayers movet 

He that brings this love to thee 

Little knows this love in me; 

And by him seal up thy mind : 

Whether that thy youth and kind 

Will the faithful offer take ot 

Of me and all that I can make; 

Or else by him my love deny, 

And then I 7/ study how to die. 
. Silvius. Call you this chiding? 
Celia. Alas, poor shepherd ! 

Rosalind. Do you pity him ? no, he deserves no pity. — 
Wilt thou love such a woman ? What, to make thee an 
instrument and play false strains upon thee ! not to be 
endured ! Well, go your way to her, for I see love hath 
made thee a tame snake, and say this to her : that if she 
love me, I charge her to love thee ; if she will not, I will 
never have her unless thou entreat- for her. If you be a 
true lover, hence, and not a word ; for here comes more 
company. \Exit Silvius. 

Enter Oliver. 

Oliver. Good morrow, fair ones : pray you, if you know, 
Where in the purlieus of this forest stands 76 

A sheepcote fenc'd about with olive trees ? 

Celia. West of this place, down in the neighbour bottom; 
The rank of osiers by the murmuring stream 
Left on your right hand brings you to the place. 80 

But at this hour the house doth keep itself; 
There 's none within. 

Oliver. If that an eye may profit by a tongue, 
Then should I know you by description ; 



AL'£ jy. hLRJSiL 111. 99 \ 

Such garments and such years : ' The boy is fair, ; 

Of female favour, and bestows himself \ 

Like a ripe sister; the woman low : 

And browner than her brother.' Are not you i 

The owners of the house I did enquire for ? ,j 

Celia. It is no boast, being ask'd, to say we are. 90 1 

Oliver. Orlando doth commend him to you both, ■ 

And to that youth he calls his Rosalind \ 
He sends this bloody napkin. — Are you he ? 

Rosalifid. I am : what must we understand by this ? • 

Oliver. Some of my shame ; if you will know of me ; 

What man I am, and how, and why, and where j 

This handkercher was stain'd. j 

Celia. I pray you, tell it. j 

Oliver. When last the young Orlando parted from you, | 

He left a promise to return again : 

Within an hour, and pacing through the forest, 100 | 

Chewing the food of sweet and bitter fancy, \ 

Lo, what befell ! He threw his eye aside, ! 

And mark what object did present itself! ; 

Under an oak, whose boughs were moss'd with age | 

And high top bald with dry antiquity, I 

A wretched ragged man, o'ergrown with hair, j 

Lay sleeping on his back ; about his neck i 

A green and gilded snake had wreath'd itself, ' 

Who with her head nimble in threats approach'd \ 

The opening of his mouth : but suddenly, no 1 

Seeing Orlando, it unlink'd itself, ' 
And with indented glides did slip away 

Into a bush : under which bush's shade ' 

A lioness, with udders all drawn dry, \ 

Lay couching, head on ground, with catlike watch, j 

When that the sleeping man should stir : for 't is j 

The royal disposition of that beast ': 

To prey on nothing that doth seem as dead. ' 

L(?fG. J 



loo ^S YOU LIKE IT, 

This seen, Orlando did approach the man, 

And found it was his brother, his elder brother. 120 

Celia. O, I have heard him speak of that same brother; 
And he did render him the most unnatural 
That liv'd amongst men. 

Oliver. And well he might so do, 

For well I know he was unnatural. 

Rosalind. But, to Orlando : did he leave him there, 
Food to the suck'd and hungry lioness ? 

Oliver. Twice did he turn his back and purpos'd so ; 
But kindness, nobler ever than revenge. 
And nature, stronger than his just occasion, 
Made him give battle to the lioness, 130 

Who quickly fell before him ; in which hurtling 
From miserable slumber I awak'd. 

Celia. Are you his brother? 

Rosalind. Was 't you he rescued? 

Celia. Was 't you that did so oft contrive to kill him ? 

Oliver. 'T was I ; but 't is not I : I do not shame 
To tell you what I was, since my conversion 
So sweetly tastes, being the thing I am. 

Rosalind. But, for thebloody napkin? 

Oliver. By and by. 

When from the first to last betwixt us two 
Tears our recountments had most kindly bath'd, 140 

As how I came into that desert place, — 
In brief, he led me to the gentle duke. 
Who gave me fresh array and entertainment. 
Committing me unto my brother's love; 
Who led me instantly unto his cave. 
There stripped himself, and here upon his arm 
The lioness had torn some flesh away. 
Which all this while had bled ; and now he fainted, 
And cried, in fainting, upon Rosalind. 
Brief, I recover'd him, bound up his wound; 150 



ACT IV. SCENE III, loi 

And, after some small space, being strong at heart, 

He sent me hither, stranger as I am, 

To tell this story, that you might excuse 

His broken promise, and to give this napkin 

Dyed in his blood unto the shepherd youth 

That he in sport doth call his Rosalind. [^Rosalind swoons. 

Celia. Why, how now, Ganymede ! sweet Ganymede I 

Oliver. Many will swoon when they do look on blood. 

Celia. There is more in it. — Cousin Ganymede ! 

Oliver. Look, he recovers. i6o 

Rosalind. I would I were at home. 

Celia. We '11 lead you thither. — 

I pray you, will you take him by the arm ? 

Oliver. Be of good cheer, youth : you a man ! you lack a 
man's heart. 

Rosalind. I do so, I confess it. Ah, sirrah, a body would 
think this was well counterfeited ! I pray you, tell your 
brother how well I counterfeited. — Heigh-ho! 

Oliver. This was not counterfeit : there is too great testi 
mony in your complexion that it was a passion of earnest. 

Rosalind. Counterfeit, I assure you. 170 

Oliver. Well then, take a good heart and counterfeit to 
be a man. 

Rosalind. So I do: but, i' faith, I should have been a 
woman by right. 

Celia. Come, you look, paler and paler : pray you, draw 
homewards. — Good sir, go with us. 

Oliver. That will I, for I must bear answer back 
How you excuse my brother, Rosalind. 

Rosalind. I shall devise something: but, I pray you, con- 
mend my counterfeiting to him. — Will you go? [Exeunt. 




** In the spring time, the only pretty ring time." 



Scene I. The Forest. 
Enter Touchstone and Audrey. 

Touchstone. We shall find a time, Audrey ; patience, gen- 
tie Audrey. 

Audrey. Faith, the priest was good enough, for all the old 
gentleman's saying. 

Touchstone. A most wicked Sir Oliver, Audrey, a most 
vile Martext. But, Audrey, there is a youth here in the 
forest lays claim to you. 

Audrey. Ay, I know who 't is ; he hath no interest in me 
in the world : here comes the man you mean. 9 

Touchstone. It is meat and drink to me to see a clown. 
By my troth, we that have good wits have much to answer 
for : we shall be flouting \ we cannot hold. 



ACT V. SCENE I, 



103 



Enter William. 

William. Good even, Audrey. 

Audrey. God ye good even, William, 

William. And good even to you, sir. 

Touchstone. Good even, gentle friend- Cover thy head,, 
cover thy head; nay, prithee, be covered. How old are 
you, friend? 

William. Five and twenty, sir. 

Touchsto7ie. A ripe age. Is thy name William? ao 

William. William, sir. 

Touchstone. A fair name. Wast born i' the forest here? 

William. Ay, sir, I thank God. 

Touchstone. Thank God ! — a good answer. Art rich ? 

William. Faith, sir, so-so. 

Touchstone. So-so is good, very good, very excellent good ; 
and yet it is not \ it is but so-so. Art thou wise? 

William. Ay, sir, I have a pretty wit. 28 

Touchstone. Why, thou sayest well. I do now remember 
a saying, ' The fool doth think he is wise, but the wise man 
knows himself to be a fool.' The heathen philosopher, 
when he had a desire to eat a grape, would open his lips 
when he put it into his mouth ; meaning thereby that 
grapes were made to eat and lips to open. You do love 
this maid? 

William. I do, sir. 

Touchstone. Give me your hand. Art thou learned ? 

William. No, sir. 38 

T'ouchstone. Then learn this of me : to have, is to have : 
for it is a figure in rhetoric that drink, being poured out of 
a cup into a glass, by filling the one doth empty the other ; 
for all your writers do consent that ipse is he : now, you are 
not ipse^ for I am he. 

William. Which he, sir ? 44 

Touchstone. He, sir, that must marry this woman. There- 



104 ^^ ^^^ z/A'^ /r, 

fore, you clown, abandon, — which is in the vulgar leave, — 
the society, — which in the boorish is company, — of this 
female, — which in the common is woman ; which together 
is, abandon the society of this female, or, clown, thou 
perishest ; or, to thy better understanding, diest ; or, to wit, 
I kill thee, make thee away, translate thy life into death, 
thy liberty into bondage. I will deal in poison with thee, 
or in bastinado, or in steel ; I will bandy with thee in fac- 
tion ; I will o'errun thee with policy ; I will kill thee a 
hundred and fifty ways ; therefore tremble, and depart, ss 

Audrey. Do, good William. 

William, God rest you merry, sir. \ExiU 

Enter Corin. 

Corin. Our master and mistress seeks you \ come, away, 
away ! 

Touchstojte. Trip, Audrey! trip, Audrey! — I attend, I at- 
tend. \Exeunt, 

Scene II. The Forest. 
Enter Orlando and Oliver. 

Orlando. Is *t possible that on so little acquaintance you 
should like her? that but seeing you should love her? and 
loving woo? and, wooing, she should grant? and will you 
persever to enjoy her? 

Oliver. Neither call the giddiness of it in question, the 
poverty of her, the small acquaintance, my sudden wooing, 
nor her sudden consenting ; but say with me, I love Aliena j 
say with her that she loves me ; consent with both that we 
may enjoy each other. It shall be to your good ; for my 
father's house and all the revenue that was old Sir Row- 
land's will I estate upon you, and here live and die a 
shepherd. 12 

Orlando. You have my consent. Let your wedding be 



ACT V, SCENE 11. 105 

to-morrow; thither will T invite the duke and all *s con- 
tented followers. Go you and prepare Aliena; for look 
you, here comes my Rosalind. 

Enter Rosalind. 

Rosalind. God save you, brother. 

Oliver. And you, fair sister. [Exit 

Rosalind. O, my dear Orlando, how it grieves me to see 
thee wear thy heart in a scarf I 20 

Orlando. It is my arm. 

Rosalind. I thought thy heart had been wounded with the 
claws of a lion. 

Orlattdo. Wounded it is, but with the eyes of a lady. 

Rosalind. Did your brother tell you how I counterfeited 
to swoon when he showed me your handkercher? 

Orlando. Ay, and greater wonders than that, 27 

Rosalind. O, I know where you are : nay, *t is true ; there 
was never any thing so sudden but the fight of two rams 
and Caesar's thrasonical brag of * I came, saw, and over- 
came.' For your brother and my sister no sooner met but 
they looked, no sooner looked but they loved, no sooner 
loved but they sighed, no sooner sighed but they asked one 
another the reason, no sooner knew the reason but they 
sought the remedy ; and in these degrees have they made 
a pair of stairs to marriage which they will climb inconti- 
nent. They are in the very wrath of love, and they will 
together ; clubs cannot part them. 38 

Orlando. They shall be married to-morrow, and I will 
bid the duke to the nuptial. But, O, how bitter a thing it 
is to look into happiness through another man's eyes 1 By 
so much the more shall I to-morrow be at the height of 
heart-heaviness, by how much I shall think my brother 
happy in having what he wishes for. 

Rosalind. Why then, to-morrow I cannot serve your turn 
for Rosalind ? 46 



io6 ^S YOU LIKE IT. 

Orlando, I can live no longer by thinking. 

Rosalind. I will weary you then no longer with idle talk- 
ing. Know of me then, for now I speak to some purpose, 
that I know you are a gentleman of good conceit: I speak 
not this that you should bear a good opinion of my knowl- 
edge, insomuch I say I know you are ; neither do I labour 
for a greater esteem than may in some little measure draw 
a belief from you, to do yourself good and not to grace me. 
Believe then, if you please, that I can do strange things : I 
have, since I was three year old, conversed with a magician, 
most profound in his art and yet not damnable. If you do 
love Rosalind so near the heart as your gesture cries it out, 
when your brother marries Aliena, shall you marry her. I 
know into what straits of fortune she is driven ; and it is not 
impossible to me, if it appear not inconvenient to you, to set 
her before your eyes to-morrow, human as she is, and with- 
out any danger. 63 

Orlando. Speakest thou in sober meanings? 

Rosalind. By my life, I do ; which I tender dearly, though 
I say I am a magician. Therefore, put you in your best ar- 
ray, bid your friends ; for if you will be married to-morrow, 
you shall, and to Rosalind, if you will. 

Enter Silvius and Phebe. 
Look, here comes a lover of mine and a lover of hers. 

Phehe. Youth, you have done me much ungentleness, 70 
To shew the letter that I writ to you. 

Rosalind. I care not if I have ; it is my study 
To seem despiteful and ungentle to you. 
You are there follow'd by a faithful shepherd ; 
Look upon him, love him ; he worships you. 

Phebe. Good shepherd, tell this youth what 't is to love. 

Silvius. It is to be all made of sighs and tears ; 
And so am I for Phebe. 

Phehe. And I for Ganymede. 



ACT V. SCENE II. 



107 



Orlando. And I for Rosalind. 80 

Rosalind. And I for no woman. 

Silvius. It is to be all made of faith and service; 
And so am I for Phebe. 

Phebe. And I for Ganymede. 

Orlando. And I for Rosalind. 

Rosalind. And I for no woman. 

Silvius. It is to be all made of fantasy. 
All made of passion, and all made of wishes, 
All adoration, duty, and observance. 

All humbleness, all patience, and impatience, 90 

All purity, all trial, all obedience \ 
And so am I for Phebe. 

Phebe. And so am I for Ganymede. 

Orlando. And so am I for Rosalind. 

Rosalind. And so am I for no woman. 

Phebe. If this be so, why blame you me to love you ? 

Silvius. If this be so, why blame you me to love you ? 

Orlando. If this be so, why blame you me to love you ? 

Rosalind. Why do you speak too, * Why blame you me to 
love you ?' 100 

Orlando. To her that is not here, nor doth not hear. 

Rosalind. Pray you, no more of this j 't is like the howl- 
ing of Irish wolves against the moon. \To Silvius"] I will 
help you, if I can. \^To Phebe] I would love you, if I could. 
To-morrow meet me all together. [To Phebe] I will marry 
you, if ever I marry woman, and I '11 be married to-morrow. 
[^To Orlando] I will satisfy you, if ever I satisfied man, and 
you shall be married to-morrow. [^To Silvius] I will con- 
tent you, if what pleases you contents you, and you shall 
be married to-morrow. [To Orlaiidd] As you love Rosalind, 
meet; [To Silvius] as you love Phebe, meet; and as I love 
no woman, I '11 meet. So fare you well; I have left you 
commands. H3 

Silvius. I '11 not fail, if I live. 



ro8 ^S YOU LIKE IT, 

Fhebe. Nor I. 

Orlando. Nor I. [Exeunt 

Scene III. The Forest 
Enter Touchstone and Audrey. 

Touchstone. To-morrow is the joyful day, Audrey ; to- 
morrow will we be married. 

Audrey. I do desire it with all my heart ; and I hope it is 
no dishonest desire to desire to be a woman of the world. 
Here come two of the banished duke's pages. 

Enter two Pages. 

First Page. Well met, honest gentleman. 

Touchstone. By my troth, well met. Come, sit, sit, and a 
song. 

Second Page. We are for you ; sit i' the middle. 9 

First Page. Shall we clap into 't roundly, without hawk- 
ing or spitting or saying we are hoarse, which are the only 
prologues to a bad voice .^ 

Second Page. V faith, i' faith j and both in a tune, like two 
gypsies on a horse. 

Song. 
// was a lover and his lass, 

With a hey, and a ho, and a hey nonino. 
That o'er the green corn-field did pass 

In spring time, the only pretty ring time^ 
When birds do sing, hey ding, a dingy ding: 

Sweet lovers love the spring. to 

Between the acres of the rye^ 

With a hey, and a ho, and a hey noninOy 

These pretty country folks would lie. 
In spring time, etc. 



ACT V. SCENE IV. 109 

This carol they began that hour, 

With a hey, a?id a ho, and a hey nonino. 
How that a life was but a flower 
* In spring time^ etc. 

And therefore take the present time, 

With a hey J and a hOy and a hey no?zifio ; 30 

For love is crowned with the prime 

In spring time^ etc. 

Touchstone. Truly, young gentlemen, though there was no 
great matter in the ditty, yet the note was very untuneable. 

First Page. You are deceived, sir ; we kept time, we lost 
not our time. 

Touchstone. By my troth, yes ; I count it but time lost to 
hear such a foolish song. God be wi' you j and God mend 
your voices I — Come, Audrey. [Exeunt. 

Scene IV. The Forest. 

Enter Duke Senior, Amiens, Jaques, Orlando, 

Oliver, and Celia. 

Duke Senior. Dost thou believe, Orlando, that the boy 
Can do all this that he hath promised ? 

Orlando. I sometimes do believe, and sometimes do not ; 
As those that fear they hope, and know they fear. 

Enter Rosalind, Silvius, ajid Phebe. 
Rosalind. Patience once more, whiles our compact is 
urg'd.— 
You say, if I bring in your Rosalind, 
You will bestow her on Orlando here? 

Duke Senior. That would I, had I kingdoms to give with 

her. 
Rosalind. And you say, you will have her when I bring 
her? 



no AS YOU LIKE IT. 

, Orlando. That would I, were I of all kingdoms king. .o 

Rosali7id. You say you '11 marry me, if I be willing? 

Phebe. That will I, should I die the hour after. 

Rosalind. But if you do refuse to marry me, • 

You '11 give yourself to this most faithful shepherd ?- 

Phebe. So is the bargain. 

Rosalind. You say that you '11 have Phebe, if she will ? 

Silvius. Though to have her and death were both one 
thing. 

Rosalind. I have promis'd to make all this matter even. 
Keep you your word, O duke, to give your daughter ;— 
You yours, Orlando, to receive his, daughter : — 20 

Keep your word, Phebe, that you '11 marry me, 
Or else refusing me, to wed this shepherd : — 
Keep your word, Silvius, that you '11 marry her, 
If she refuse me : — and from hence I go. 
To make these doubts all even. \Exennt Rosalind and Celia. 

Duke Senior. I do remember in this shepherd boy 
Some lively touches of my daughter's favour. 

Orlando. My lord, the first time that I ever saw him 
Methought he was a brother to your daughter; 
But, my good lord, this boy is forest-born, :\_ 3« 

And hath been tutor'd in the rudiments 
Of many desperate studies by his uncle, 

Whom he reports to be a great magician, 

Obscured in the circle of this forest. , 

Enter Touchstone and Audrey. 

Jaques. There is, sure, another flood toward, and these 
couples are coming to the ark! Here comes a pair of 
very strange beasts, which in air tongues are called fools. 
^ Touchstone. Salutation and greeting to you all ! 

Jaques. Good my lord, bid him welcome. This is the 
motley-minded gentleman that I have so often met in the 
forest j he hath been a courtier, he swears. 4* 



ACT V. SCENE IV. m 

Touchstone. If any man doubt that, let him put me to my 
purgation. I have trod a measure ; I have flattered a lady; 
I have been politic with my friend, smooth with mine enemy; 
I have undone three tailors; I have had four quarrels, and 
like to have fought one. 

jfaques. And how was that ta'en up ? 

Touchstone. Faith, we met, and found the quarrel was 
upon the seventh cause. 

jaques. How seventh cause? — Good my lord, like this 
fellow. ^ 5j 

Duke Senior. I like him very well. 

Touchstofie. God 'ield you, sir; I desire you of the like. 
I press in here, sir, amongst the rest of the country copula- 
tives, to swear and forswear; according as marriage binds 
and blood breaks. A poor virgin, sir, an ill-favoured thing, 
sir, but mine own ; a poor humour of mine, sir, to take that 
that no man else will. Rich honesty dwells like a miser, 
sir, in a poor house ; as your pearl in your foul oyster. 

Duke Senior. By my faith, he is very swift and senten- 
tious. 6i 

Touchstone. According to the fool's bolt, sir, and such 
dulcet diseases. 

yaques. But, for the seventh cause ; how did you find the 
quarrel on the seventh cause "i 

Touchsto7te. Upon a lie seven times removed : — bear your 
body more seeming, Audrey : — as thus, sir. I did dislike 
the cut of a certain courtier's beard : he sent me word, if I 
said his beard was not cut well, he was in the mind it was : 
this is called the Retort Courteous. If I sent him word 
again it was not well cut, he would send me word, he cut 
it to please himself: this is called the Quip Modest. If 
again, it was not well cut, he disabled my judgment: this 
is called the Reply Churlish. If again, it was not well cut, 
he would answer, I spake not true : this is called the Re- 
proof Valiant. If again, it was not well cut, he would say. 



112 AS VOU LIKE IT. 

I lied : this is called the Countercheck Quarrelsome : and 
so to the Lie Circumstantial and the Lie Direct. 

jfaques. And how oft did you say his beard was not well 

cut ? 80 

Touchstone. I durst go no further than the Lie Circum- 
stantial, nor he durst not give me the Lie Direct; and so 
we measured swords and parted. 

jfaques. Can you nominate in order now the degrees of 
the lie? 85 

Touchstone. O sir, we quarrel !n print, by the book ; as 
you have books for good manners. I will name you the 
degrees : the first, the Retort Courteous ; the second, the 
Quip Modest ; the third, the Reply Churlish ; the fourth, 
the Reproof Valiant ; the fifth, the Countercheck Quarrel- 
some ; the sixth, the Lie with Circumstance ; the seventh, 
the Lie Direct. All these you may avoid but the Lie 
Direct ; and you may avoid that too, with an ' If.' I knew 
when seven justices could not take up a quarrel, but when 
the parties were met themselves, one of them thought but 
of an 'If,' as, *If you said so, then I said so;' and they 
shook hands and swore brothers. Your 'If is the only 
peace-maker; much virtue in 'If.' 98 

Jaques. Is not this a rare fellow, my lord? he 's as good 
at any thing, and yet a fool. 

Duke Senior. He uses his folly like a stalking-horse, and 
under the presentation of that he shoots his wit. 

Enter Hymen, leading Rosalind in her proper habit., and 
Celia. Still Music. 

Hymen. Then is there mirth in heaven, 
When earthly things made even 

Atone together. 105 

Good duke, receive thy daughter : 
Hymen from heaven brought her. 

Yea, brought her hither. 



ACT V. SCENE IV. II3 

That thou mightst join her hand with his 

Whose heart within her bosom is. no • 

Rosalind. \To Diike\ To you I give myself, for I am - 

yours. — ; 
\To Orla?tdo\ To you I give myself, for I am yours. 

Duke Senior. If there be truth in sight, you are my \ 

daughter. i 

0?'lando. If there be truth in sight, you are my Rosalind. ■ 

Phebe. If sight and shape be true, ; 

Why then, my love adieu ! ! 

Rosalind. 1 '11 have no father, if you be not he ; — j 

I '11 have no husband, if you be not he ; — ' j 

Nor ne'er wed woman, if you be not she. " \ 

Hymen. Peace, ho ! I bar confusion. 120 \ 

'T is I must make conclusion : 

Of these most strange events : ■ 

Here 's eight that must take hands - 

To join in Hymen's bands, \ 

If truth holds true contents. a 

You and you no cross shall part ; — 

You and you are heart in heart; — I 

You to his love must accord, \ 

Or have a woman to your lord; — s 

You and you are sure together, 130 \ 

As the winter to foul weather. — I 

Whiles a wedlock-hymn we sing, \ 

Feed yourselves with questioning, \ 

That reason wonder may diminish, j 

How thus we met, and these things finish. ) 

Song. I 

Wedding is great J^uno^s crown ; \ 

O blessed bond of board and bed! \ 
^T is Hyinen peoples every town ; 
High wedlock then be honoured: 
H 



,14 AS YOU LIKE IT. \ 

Honour, high hofiour and renown, i4« 1 

To Hymen, god of every toum ! | 

Duke Senior. O my dear niece, welcome thou art to me I \ 

Even daughter, welcome, in no less degree. ^ 

Fhebe. I will not eat my word, now thou art mine; '\ 
Thy faith my fancy to thee doth combine. 

Enter Jaques de Boys. 

jfaques de Boys. Let me have audience for a word or two: 1 

I am the second son of old Sir Rowland, ' 

That bring these tidings to this fair assembly. \ 

Duke Frederick, hearing how that every day -i 
Men of great worth resorted to this forest, 15a ' 

Address'd a mighty power, which were on foot, ■ 

In his own conduct, purposely to take I 

His brother here and put him to the sword : ', 

And to the skirts of this wild wood he came, ' 

Where meeting with an old religious man, ' \ 

After some question with him, was converted ; 

Both from his enterprise and from the world; \ 

His crown bequeathing to his banish'd brother, \ 

And all their lands restor'd to them again I 
That were with him exil'd. This to be true, ^^ \ 

I do engage my life. \ 

Duke Senior. Welcome, young man; ; 

Thou offer'st fairly to thy brothers' wedding : \ 

To one his lands withheld ; and to the other \ 

A land itself at large, a potent dukedom. 3 

First, in this forest let us do those ends | 

That here were well begun and well begot ; ] 

And after, every of this happy number J 

That have endur'd shrewd days and nights with us J 
Shall share the good of our returned fortune, 
According to the measure of their states. '7° | 



ACT V. SCENE IV. 115 

Meantime, forget this new-fallen dignity, 

And fall into our rustic revelry. — 

Play, music ! — And you, brides and bridegrooms all, 

With measure heap'd in joy, to the measures fall. 

jfaques. Sir, by your patience. If I heard you rightly, 
The duke hath put on a religious life. 
And thrown into neglect the pompous court ? 

jfaques de Boys. He hath. 

Jaques. To him will I ; out of these convertites 
There is much matter to be heard and learn'd. — 180 

\To Duke\ You to your former honour I bequeath; 
Your patience and your virtue well deserves it : — 
\jro Orlandd\ You to a love that your true faith doth 

merit : — 
\To Oliver\ You to your land and love and great allies : — 
\To Silvius'] You to a long and well-deserved bed : — 
[7^ Touchstone\ And you to wrangling; for thy loving 

voyage 
Is but for two months victuall'd. — So, to your pleasures ; 
I am for other than for dancing measures. 

Duke Senior. Stay, Jaques, stay. 

Jaques. To see no pastime I : what you would have 190 
I '11 stay to know at your abandon'd cave. \Exit. 

Duke Senior. Proceed, proceed : we will begin these rites, 
As we do trust they '11 end, in true delights. [A dance. 

Epilogue. 

Rosalind. It is not the fashion to see the lady the epilogue ; 
but it is no more unhandsome than to see the lord the pro- 
logue. If it be true that good wine needs no bush, 't is true 
that a good play needs no epilogue ; yet to good wine they 
do use good bushes, and good plays prove the better by the 
help of good epilogues. What a case am I in then, that am 
neither a good epilogue nor cannot insinuate with you in 
the behalf of a good play I I am not furnished like a beg- 



Il6 AS VOU LIKE IT. 

gar, therefore to beg will not become me : my way is to con- 
jure you; and I '11 begin with the women. I charge you, O 
women, for the love you bear to men, to like as much of this 
play as please you ; and I charge you, O men, for the love 
you bear to women,— as I perceive by your simpering, none 
of you hates thtm, — ihat between you and the women the 
play may please. If I were a woman I would kiss as many 
of you as had beards that pleased me, complexions that 
liked me, and breaths that I defied not ; and, I am sure, as 
many as have good beards or good faces or sweet breaths 
will, for my kind offer, when I make curtsy, bid me fare- 
well. \Exeunt 




NOTES, 



ABBREVIATIONS USED IN THE NOTES. 

Abbott (or Gr.), Abbott's Shakespearian Grammar (third edition). 
A. S., Anglo-Saxon. 

A. v., Authorized Version of the Bible (1611). 

B. and F., Beaumont and Fletcher. 
B. J., Ben Jonson. 

Camb. ed., " Cambridge edition" oi Shakespeare, edited by Clark and Wright. 

Cf. {cofifer), compare. 

Coll., Collier (second edition). 

Coll. MS., Manuscript Corrections of Second Folio, edited by Collier. 

D., Dyce (second edition). 

H., Hudson (first edition). 

Hen. V. (followed by reference to page), Rolfe' s edition of Henry V. 

Hen. VIII. (followed by reference to page), Rolfe's edition oi Henry VIII. 

Id. {idem), the same. 

J. C. (followed by reference to Page), Rolfe's edition of Julius Ccesar. 

J. H., John Hunter's edition oi As You Like It (London, n. d.). 

K., Knight (second edition). 

M., Rev. C. E. Moberly's " Rugby" edition of ^.y You Like It (London, 1872). 

Macb. (followed by reference to page), Rolfe's edition of Macbeth. 

Mer., Rolfe's edition of The Merchant of Venice. 

M. N. D. (followed by reference to page), Rolfe's «;dition cX A Midstimmer-Nighfs 
Dream. 

Nares, Glossary, edite i by Hailiweil and Wright (j-,orjdon, 1859). 

Prol., Prologue. 

Rich. II. (followed by leference to page), Rolfe's edition oi Richard II. 

S., Shakespeare. 

Schmidt, A. Schmidt's Shakespeare- Lexicon (Berlin, 1874). 

Sr., Singer, 

St., Staunton. 

Temp, (followed by reference to page), Rolfe's edition of The Tempest. 

Theo., Theobald 

v., Verplanck. 

W., White. 

Walker, Wm. Sidney Walker's Critical Examination of the Text of Shakespeare 
(London, i860). 

Warb., Warburton. 

Wb., Webster's Dictionary (revised quarto edition of 1864). 

Whiter, Rev. W. Whiter' s Specimen of a Commentary on Shakespeare (London, 

1794)- . . 

Wore, Worcester's Dictionary (quarto edition). 
Wr., W. A. Wright's " Clarendon Press" edition of ^^ You Like It (Oxford, 1876). 

The abbreviations of the names of Shakespeare's Plays will be readily understood ; as 
T. N. for Twelfth Night, Cor. for Coriolanus, 3 Hen. VI. for The Third Part of Kitig 
Henry the Sixth, etc. P. P. refers to The Passionate Pilgrim ; V. and A. to Venus 
and Adonis; L. C. to Lover's Complaint; and Sonn. to the Sonnets. 



NOTES. 



4 

Ml 



,0jimm^ 




INTRODUCTION. 

It is probable that the title As Yoti Like It was suggested by the pref- 
ace of Lodge's novel. In his address " To the Gentlemen readers," he 
says : " Heere you may perhaps finde some leaves of Venus mirtle, but 
hewen down by a souldier with his curtelaxe, not boght with the allure- 
ment of a filed tongue. To bee briefe, gentlemen, roome for a souldier 
and a sailer, that gives you the fruits of his labors that he wrote in the 
ocean, where everie line was wet with a surge, and every humorous pas- 
sion countercheckt with a storme. If you like it, so ; and yet I will bee 
yours in duetie, if you be mine in favour." Tieck believed that the title 



I20 NOTES. 

was meant as a reply to Ben Jonson's criticisms on the loose and irregu* 
lar style of Shakespeare's comedy, and that it was suggested by the fol- 
lowing passage in the Epilogue to Cynthia's Revels: 

" I '11 only speak what I have heard him say, 
' By 't is good, and if you like 't you may.' '* 

Ulrici sees in it a reference to the meaning and spirit of the play itself. 
In summing up his argument, he says ; " In fact, all do exactly what and 
as they please ; each gives himself or herself up, in unbridled wilfulness, 
to good or evil, according to his or her own whims, moods, or impulses, 
whatever the consequences may prove to be. Each looks upon and 
turns and shapes life as it pleases him or her. ... It is a life such as 
not only must please the dramatic personages themselves, but would 
please every one, were such a life only possible ; it is the poetic reflex 
of a life as y oil like it, light and smooth in its flow, unencumbered by se- 
rious tasks, free from the fetters of definite objects, and from intentions 
difficult to realize ; an amusing play of caprice, of imagination, and of 
wavering sensations and feelings."* 

The following extracts from Lodge's novelf include the parts chiefly 
used by Shakespeare : 

[" Sir John of Burdeaux," on his death-bed, calls his three sons, Sala- 
dyne, Fernandine, and Rosader, and divides his estate among them. To 
Saladyne he gives "fourteene ploughlands," with his *' mannor houses and 
richest plate ;" to Fernandine, " twelve ploughlands ;" and to Rosader, 
his horse, armour, and lance, "with sixteene ploughlands."] 

Saladyne, " after a months mourning was past, fel to consideration of 
his fathers testament ; how hee had bequeathed more to his yoonger 
brothers than himselfe, that Rosader was his fathers darling, but now 
under his tuition, that as yet they were not come to yeares, and he being 
their gardian, might, if not defraud them of their due, yet make such 
havocke of theyr legacies and lands, as they should be a great deal the 
lighter : whereupon he began thus to meditate with himselfe. . . . 

" Thy brother is yoong, keepe him now in awe ; make him not checke 
mate with thy se]fe,for,— 'Nimia familiaritas contemptum parit.' 
Let him know litle, so shall he not be able to execute much : 
suppresse his wittes with a base estate, and though hee be a gentleman 
by nature, yet forme him anew, and make him a peasant by nourture. 
So shalt thou keepe him as a slave, and raigne thy selfe sole lord over 
all thy fathers possessions. As for Fernandyne, thy middle brother, he 
is a scholler and hath no minde but on Aristotle : let him reade on Galen 
while thou riflest with golde, and pore on his booke whilest thou doest 
purchase landes : witte is great wealth ; if he have learning it is enough, 
and so let all rest. 

" In this humour was Saladyne, making his brother Rosader his foote 
boy for the space of two or three yeares, keeping him in such servile 
subjection, as if he had been the sonne of any country vassal. The young 

* Shakespeare's Dramatic Art, 3d ed., trans, by L. D. Schmitz (London, 1876), vol. 
ii. p. 16, 

t We take these from Halliwell, who reprints the novel in full in his folio ed. We 
insert the paragraphs in brackets to supply the gaps in the narrative. 



INTR on UC TION. 1 2 1 

gentleman bare all with patience, til on a day, walking in the garden by 
himselfe, he began to consider how he was the sonne of John of Bour- 
deaux, a knight renowmed for many victories, and a gentleman famozed 
for his vertues ; how, contrarie to the testament of his father, hee was 
not only kept from his land and intreated as a servant, but smothered in 
such secrer slaverie, as hee might not attaine to any honourable actions. 
Alas, quoth hee to himselfe, nature woorking these efifectuall passions, 
why should I, that am a gentleman borne, passe my time in such unnat- 
ural drudgery ? were it not better either in Paris to become a scholler, or 
in the court a courtier, or in the field a souldier, then to live a foote boy 
to my own brother? nature hath lent me wit to conceive, but my brother 
denies mee art to contemplate ; I have strength to performe any honor- 
able exployt, but no libertie to accomplish my vertuous indevours ; those 
good partes that God hath bestowed upon mee, the envy of my brother 
doth smother in obscuritie ; the harder is my fortune, and the more his 
frowardnes. With that, casting up his hand he felt haire on his face, 
and perceiving his beard to bud, for choler hee began to blush, and swore 
to himselfe he would be no more subject to such slaverie. As he was 
thus ruminating of his melancholic passions in came Saladyne with his 
men, and seeing his brother in a browne study, and to forget his wonted 
reverence, thought to shake him out of his dumps thus. Sirha, quoth 
he, what is your heart on your halfepeny, or are you saying a dirge for 
your fathers soule ? what, is my dinner readie ? At this question Rosa- 
der, turning his head ascance, and bending his browes as if anger there 
had ploughed the furrowes of her wrath, with his eyes full of fire, hee 
made this replie. Doest thou aske mee, Saladyne, for thy cates ? aske 
some of thy churles who are fit for suche an office : I am thine equal by 
nature, though not by birth, and though thou hast more cardes in thy 
bunch, I have as many trumpes in my handes as thy selfe. Let me ques- 
tion with thee, why thou hast feld my woods, spoyled my manner houses, 
and made havocke of suche utensalles as my father bequeathed unto 
mee? I tell thee, Saladyne, either answere mee as a brother, or I wil 
trouble thee as an enemie. At this replie of Rosaders Saladyne smiled, 
as laughing at his presumption, and frowned as checking his folly : he 
therfore tooke him up thus shortly : What, sirha, wel I see early pricks 
the tree that wil proove a thorne : hath my familiar conversing with you 
made you coy, or my good lookes drawne you to be thus contemptuous r 
I can quickly remedie such a fault, and I wil bend the tree while it is 
a wand. In faith, sir boy, I have a snaffle for such a headstrong colt. 
You, sirs, lay holde on him and binde him, and then I wil give him a 
cooling carde for his choller. This made Rosader halfe mad, that step- 
ping to a great rake that stood in the garden, hee laide such loade uppon 
his brothers men that hee hurt some of them, and made the rest of them 
run away. Saladyne seeing Rosader so resolute, and with his resolution 
so valiant, thought his heeles his best safetie, and tooke him to a loaft ad- 
joyning to the garden, whether Rosader pursued him hotly. Saladine, 
afraide of his brothers furie, cried out to him thus : Rosader, be not so 
rash : I am thy brother and thine elder, and if I have done thee wrong 
ije make thee amendes. . . , 



122 NOTES. 

"These wordes appeased the choller of Rosader, for he was of a milde 
and curteous nature, so that hee layde downe his weapons, and upon the 
faith of a gentleman assured his brother hee would offer him no preju- 
dice : whereupon Saladyne came down, and after a little parley, they im- 
braced cache other and became friends. . . . Thus continued the pad 
hidden in the strawe, til it chaunced that Torismond, king of France, had 
appointed for his pleasure a day of wrastling and of tournament to busie 
his commons heades, least, being idle, their thoughts should runne uppon 
more serious matters, and call to remembrance their old banished king. 
A champion there was to stand against all commers, a Norman, a man 
of tall stature and of great strength ; so valiant, that in many such con- 
flicts he alwaies bare away the victorie, not onely overthrowing them 
which hee incountred, but often with the weight of his bodie killing 
them outright. Saladyne hearing of this, thinking now not to let the 
ball fal to the ground, but to take opportunitie by the forehead, first by 
secret meanes convented with the Norman, and procured him with rich 
rewards to sweare, that if Rosader came within his clawes hee would 
never more returne to quarrel with Saladyne for his possessions. The 
Norman desirous of pelfe, as, gitis nisi tneittis inops oblattim respuit au- 
rii7n, taking great gifts for litle gods, tooke the crownes of Saladyne to 
performe the stratagem. Having thus the champion tied to his vila- 
nous determination by oath, hee prosecuted the intent of his purpose thus : 
— He went to yoong Rosader, who in all his thoughts reacht at honour, 
and gazed no lower then vertue commanded him, and began to tel him 
of this tournament and wrastling, how the king should bee there, and all 
the chiefe peeres of France, with all the beautiful damosels of the coun- 
trey. Now, brother, quoth hee, for the honor of Sir John of Bourdeaux, 
our renowmed father, to famous that house that never hath bin found 
without men approoved in chivalrie, shewe thy resolution to be peremp- 
torie. For myselfe thou knowest, though I am eldest by birth, yet never 
having attempted any deedes of armes, I am yongest to performe any 
martial exploytes, knowing better how to survey my lands then to charge 
my launce : my brother Fernandyne hee is at Paris poring on a fewe 
papers, having more insight into sophistrie and principles of philosophic, 
then anie warlyke indeveurs ; but thou, Rosader, the youngest in yeares 
but the eldest in valour, art a man of strength, and darest doo what 
honour allowes thee. Take thou thy fathers launce, his sword, and his 
horse, and hye thee to the tournament, and either there valiantly cracke 
a speare, or trie with the Norman for the palme of activitie. The words 
of Saladyne were but spurres to a free horse, for hee had scarce uttered 
them ere Rosader tooke him in his armes, taking his proffer so kindly 
that hee promised in what hee might to requite his curtesie. . . . 

" But leaving him so desirous of the journey, turn we to Torismond, 
the king of France, who having by force banished Gerismond, 
their lawful king, that lived as an outlaw in the forest of Arden, 
sought now by all meanes to keep the French busied with all sports that 
might breed their content. Amongst the rest he had appointed this 
solemne turnament, wherunto hee in most solemne maner resorted, ac- 
companied with the twelve peers of France, who, rather for fear then 



INTRODUCTION. 



123 



love, graced him with the shew of their dutiful favours. To feede their 
eyes, and to make the beholders pleased with the sight of most rare and 
giistring objects, he had appoynted his owne daughter Alinda to be there, 
and the fair Rosalynd, daughter unto Gerismond, with al the beautiful! 
dammoselles that were famous for their features in all France. . . . 

"At last when the tournament ceased, the wrastling b'eganne, and the 
Norman presented himselfe as a chalenger against all commers, but hee 
looked lyke Hercules when he advaunst himselfe agaynst Acheloiis, so 
that the furie of his countenance amazed all that durst attempte to in- 
counter with him in any deed of activitie : til at last a lustie Francklin 
of the country came with two tall men, that were his sonnes, of good 
lymaments and comely personage : the eldest of these, dooing his obey- 
sance to the king, entered the lyst, and presented himselfe to the Nor- 
man, who straight coapt with him, and as a man that would triumph in 
the glorie of his strength, roused himselfe with such furie, that not onely 
hee gave him the fall, but killed him with the weight of his corpulent 
personage ; which the yoonger brother seeing, lepte presently into the 
place, and thirstie after the revenge, assayled the Norman with such 
valour, that at the first incounter hee brought him to his knees : which 
repulst so the Norman, that recovering himselfe, feare of disgrace doub- 
ling his strength, hee stept so stearnely to the yoong Francklin, that 
taking him up in his armes hee threw him against the grounde so 
violently, that hee broake his necke, and so ended his dayes with his 
brother. . . . 

" With that Rosader vailed bonnet to the king, and lightly leapt within 
the lists, where noting more the companie then the combatant, he cast 
his eye upon the troupe of ladies that glistered there lyke the starres of 
heaven; but at last Love willing to make him as amourous as hee was 
valiant, presented him with the sight of Rosalynd, whose admirable 
beauty so inveagled the eye of Rosader, that forgetting himselfe, hee 
stood and fedde his lookes on the favour of Rosalyndes t^ce ; which shee 
perceiving, blusht, which was such a doubling of her beauteous excel- 
lence, that the bashful redde of Aurora at the sight of unacquainted Phae- 
ton was not halfe so glorious. The Normane, seeing this young gentle- 
man fettered in the lookes of the ladyes, drave him out of his memento 
with a shake by the shoulder. Rosader looking backe with an angrie 
frowne, as if hee had been wakened from some pleasaunt dreame, dis- 
covered to all by the furye of his countenance that hee was a man of 
some high thoughts : but when they all noted his youth, and the sweet- 
nesse of his visage, with a general applause of favours, they grieved that 
so goodly a yoong man should venture in so base an action : but seeing 
it were to his dishonour to hinder him from his enterprise, they wisht 
him to bee graced with the palme of victorie. After Rosader was thus 
called out of his memento by the Norman, he roughly clapt to him with 
so fierce an incounter, that they both fel to the ground, and with the vio- 
lence of the fal were forced to breathe : in which space the Norman 
called to minde by all tokens, that this was hee whome Saladyne had ap- 
poynted him to kil ; which conjecture made him stretch every limbe, 
and try every sinew, that working his death hee might recover the golde 



124 



NOTES. 



which so bountifully was promised him. On the contrary part, Rosader 
while he breathed was not idle, but stil cast his eye upon Rosalynde, 
who to incourage him with a favour, lent him such an amorous looke, as 
might have made the most coward desperate : which glance of Rosalynd 
so tiered the passionate desires of Rosader, that turning to the Norman, 
hee ranne upon him and braved him with a strong encounter. The 
Norman received him as valiantly, that there was a sore combat, hard 
to j-udge on whose side fortune would be prodigal. At last Rosader, 
calling to minde the beautie of his new mistresse, the fame of his fathers 
honours, and the disgrace that should fal to his house by his misfortune, 
rowsed himselfe, and threw the Norman against the ground, falling uppon 
his chest with so willing a weight, that the Norman yielded nature her 
due, and Rosader the victorie." . . . 

Torismond "thought to banish her [Rosalynd] from the court: for, 
quoth he to himselfe, her face is so ful of favour, that it pleades 

^' ^' pittie in the eye of every man : her beauty is so heavenly and de- 
vine, that she wil prove to me as Helen did to Priam : some one of the 
peeres wil ayme at her love, end the marriage, and then in his wives 
right attempt the kingdome. To prevent therefore had-I-wist in all 
these actions, shee tarryes not about the court, but shall, as an exile, 
eyther wander to her father, or else seeke other fortunes. In this hu- 
mour, with a Sterne countenance ful of wrath, he breathed out this cen- 
sure unto her before the peers, that charged her that that night shee were 
not scene about the court : for, quoth he, I have heard of thy aspiring 
speeches, and intended treasons. This doome was strange unto Rosa- 
lynd, and presently covred with the shield of her innocence, she boldly 
brake out in reverent tearms to have cleared herself; but Torismond 
would admit of no reason, nor durst his lords plead for Rosalynd, al- 
though her beauty had made some of them passionate, seeing the figure 
of wrath pourtrayed in his brow. Standing thus all mute, and Rosalynd 
amazed, Alinda, who loved her more than herself, with grief in her hart 
and teares in her eyes, falling down on her knees, began to intreat her 
father thus." 

[Then follows " Alindas Oration to her Father in Defence of faire 
Rosalynde," the result of which is that Alinda is included in the sentence 
against Rosalynd.] 

" At this Rosalynd began to comfort her, and after shee had wept a 
fewe kinde teares in the bosome of her Alinda, . . . they sat them downe 
to consult how they should travel. Alinda grieved at nothmg but that 
they might have no man in their company, saying, it would bee their 
greatest prejudice in that two women went wandring without either guide 
or attendant. Tush, quoth Rosalynd, art thou a woman, and hast not a 
sodeine shift to prevent a misfortune .? I, thou seest, am of a tall stature, 
and would very wel become the person and apparel of a page : thou 
shalt bee my mistresse, and I wil play the man so properly, that, trust me, 
in what company so ever I come I wil not be discovered. I wil buy me 
a suite, and have my rapier very handsomly at my side, and if any knave 
offer wrong, your page will shew him the poynt of his weapon. At this 
Alinda smiicd, and upon this they agreed, and presently gathered up al 



INTRODUCTION. 



125 



their jewels, which they trussed up in a casket, and Rosalynd in all hast 
provided her of robes, and Alinda, from her royall weedes, put herselfe 
in more homelie attire. Thus fitted to the purpose, away goe these two 
friends, having now changed their names, Alinda being called Aliena, and 
Rosalynd Ganimede, they travelled along the vineyardes, and by many 
by-waies, at last got to the forrest side, where they travelled by the space 
of two or three dayes without seeing anye creature, being often in danger 
of wilde beasts, and payned with many passionate sorrowes." . . . 

[They found verses written on the trees, but they were the " pas- 
sion " of Montanus, the Silvius of Shakespeare ; and then they continued 
their journey until " comming into a faire valley, compassed with mount- 
aines, whereon grew many pleasaunt shrubbes, they might descrie where 
two flockes of sheepe did feed."] 

" Then, looking about, they might perceive where an old shepheard 

ii. 4. [Montanus] sate, and with nim a yoong swaine [Coridon], under 
a covert most pleasantly scituated. . . . 

" The shepheards having thus ended their Eglogue,* Aliena stept 
with Ganimede from behind the thicket ; at whose sodayne sight the 
shepheards arose, and Aliena saluted them thus : Shepheards, all haile, 
for such wee deeme you by your flockes, and lovers, good lucke, for 
such you seeme by your passions, our eyes being witnesse of the one, and 
our eares of the other. Although not by love, yet by fortune, I am a dis- 
tressed gentlewoman, as sorrowfuU as you are passionate, and as full of 
woes as you of perplexed thoughts. Wandring this way in a forrest un- 
known, onely I and my page, wearied with travel, would faine have some 
place of rest. May you appoint us any place of quiet harbour, be it 
never so meane, I shall bee thankfull to you, contented in my selfe, and 
gratefull to whosoever shall be mine host. Coridon, hearing the gentle- 
woman speake so courteously, returned her mildly and reverently this 
answere. — Faire mistresse, wee returne you as hearty a welcome as you 
gave us a courteous salute. A shepheard I am, and this a lover, as 
watchful to please his wench as to feed his sheep : ful of fancies, and 
therefore, say I, full of follyes. Exhort him I may, but perswade him I 
cannot ; for love admits neither of counsaile nor reason. But leaving 
him to his passions, if you. be distrest, T am sorrowfull such a faire 
creature is crost with calamitie : pray for you I may, but releeve you I 
cannot. Marry, if you want lodging, if you vouch to shrowd your selves 
in a shepheards cottage, my house for this night shall be your harbour. 
Aliena thankt Coridon greatly, and presently sate her downe and Gani- 
mede by hir, Coridon looking earnestly upon her, and with a curious 
survey viewing all her perfections applauded, in his thought, her excel- 
lence, and pitying her distresse was desirous to heare the cause of her 
misfortunes, began to question with her thus. — If I should not, faire 
Damosell, occasionate offence, or renew your griefs by rubbing the scar, 
I would faine crave so much favour as to know the cause of your mis- 
fortunes, and why, and whither you wander with your page in so danger- 
ous forest ? Aliena, that was as courteous as she was fayre, made this 

* The •' Eglogue " is a dialogue of thirty-four stanzas of four lines each. 



126 NOTES. 

replie. Shepheard, a friendly demaund ought never to be offensive, and 
questions of curtesie carry priviledged pardons in their forheads. Know, 
therefore, to discover my fortunes were to renew my sorrowes, and I 
should, by discoursing my mishaps, but rake fire out of the cynderSr 
Therefore let this suffice, gentle shepheard : my distress is as great as 
my travaile is dangerous, and I wander in this forrest to light on some 
cotage where I and my page may dwell : for I meane to buy some farme, 
and a flocke of sheepe, and so become a shepheardesse, meaning to live 
low, and content mee with a countrey life ; for I have heard the swaines 
saye, that they drunke without suspition, and slept without care. Marry, 
mistress, quoth Coridon, if you meane so you came in good time, for my 
landlord intends to sell both the farme I tyll, and the flocke I keepe, 
and cheape you may have them for ready money : and for a shepheards 
life, oh mistres, did you but live a while in theii content, you would say 
the court were rather a place of sorrow then of solace. Here, mistresse, 
shal not fortune thwart you, but in mean misfortunes, as the losse of a 
few sheepe, which, as it breedes no beggery, so it can bee no extreame 
prejudice, the next yeare may mend all with a fresh increase. Envy 
stirres not us, we covet not to climbe, our desires mount not above our 
degrees, nor our thoughts above our fortunes. Care cannot harbour in 
our cottages, nor doe our homely couches know broken slumbers : as 
wee exceed not in dyet, so we have inough to satisfie : and, mistresse, I 
have so much Latin, satis est quod sufficit. By my troth, shepheard, quoth 
Aliena, thou makest mee in love with thy countrey life, and therfore 
send for thy landslord, and I will buy thy farme and thy flocks, and thou 
shalt still under me bee overseer of them both : onely for pleasure sake 
I and my page will serve you, lead the flocks to the field and folde them. 
Thus will I live quiet, unknowne, and contented. This newes so gladded 
the hart of Coridon, that he should not be put out of his farme, that put- 
ting off his shepheards bonnet, he did hir all the reverence that he might. 
But all this while sate Montanus in a muse, thinking of the crueltie of 
his Phoebe, whom he wooed long, but was in no hope to win. Gani- 
mede, who stil had the remembrance of Rosader in his thoughtes, tooke 
delight to see the poore shepheard passionate, laughing at love, that in 
all his actions was so imperious. At last, when she had noted his teares 
that stole down his cheeks, and his sighes that broke from the center 
of his heart, pittying his lament, she demanded of Coridon why the 
yong shepheard looked so sorrowful .'' Oh sir, quoth he, the boy is in 
love. . . . 

" With this they were at Coridon's cottage, where Montanus parted 
from them, and they went in to rest. Aliena and Ganimede, glad of so 
contented a shelter, made merry with the poore swaine ; and though 
they had but countrey fare and course lodging, yet their welcome was so 
greate, and their cares so little, that they counted their diet delicate, and 
slept as soundly as if they had beene in the court of Torismond. The 
next morne they lay long in bed, as wearyed with the toyle of unaccus- 
tomed travaile ; butassoone as they got up, Aliena resolved there to set 
up her rest, and by the helpe of Coridon swapt a bargaine with his lands- 
lord, and so became mistres of the farme and the flocke, her selfe putting 




INTRO D UCTION. 1 2 7 

Oh the attyre of a shepherdesse, and Ganimede of a yong swaine : everye 
day leading foorth her flockes, with such delight, that she held her exile 
happy, and thoght no content to the blisse of a countrey cottage." . . . 

[Meanwhile Rosader, driven from home by the harshness of his 
brother, takes wath him his father's old servant, Adam Spencer, and 
makes for the forest of Arden.] 

" But Rosader and Adam, knowing full well the secret waies that led 
through the vineyards, stole away privily through the province 
of Bourdeaux, and escaped safe to the forrest of Arden. Being 

me thether, they were glad they had so good a harbor : but fortune, 
who is like the camelion, variable with every object, and constant in 
nothing but inconstancie, thought to make them myrrours of her muta- 
bilitie, and therefore still crost them thus contrarily. Thinking still to 
passe on by vhe bywaies to get to Lions, they chanced on a path that led 
into the thicke of the forrest, where they wandred five or sixe dayes with- 
out meate, that they were almost famished, finding neither shepheard nor 
cottage to relieve them ; and hunger growing on so extreame, Adam 
Spencer, being olde, began to faint, and sitting him downe on a hill, and 
looking about him, espied where Rosader laye as feeble and as ill per- 
plexed : which sight made him shedde teares. . . . 

"As he was readie to go forward in his passion, he looked earnestly on 
Rosader, and seeing him chaunge colour, hee rose up and went to him, 
and holding his temples, said, What cheere, maister ? though all faile, 
let not the heart faint : the courage of a man is shewed in the resolution 
of his death. At these wordes Rosader lifted up his eye, and looking on 
Adam Spencer, began to weep. Ah, Adam, quoth he, I sorrow not to dye, 
but I grieve at the maner of my death. Might I with my launce encoun- 
ter the enemy, and so die in the field, it were honour, and content : might 
I, Adam, combate with some wilde beast, and perish as his praie, I were 
satisfied ; but to die with hunger, O, Adam, it is the extreamest of all ex- 
treames ! Maister, quoth he, you see we are both in one predicament, 
and long I cannot live wnthout meate ; seeing therefore we can finde no 
foode, let the death of the one preserve the life of the other. I am old, 
and overworne with age, you are yoong, and are the hope of many hon- 
ours : let me then dye, I will presently cut my veynes, and, maister, with 
the warme blood relieve your fainting spirites : sucke on that til I ende, 
and you be comforted. With that Adam Spencer was ready to pull out 
his knife, when Rosader, full of courage, though verie faint, rose up, and 
wisht Adam Spencer to sit there til his returne ; for my mind gives me, 
quoth he, that I shall bring thee meate. With that, like a mad man, he 
rose up, and raunged up and downe the woods, seeking to encounter some 
wilde beast with his rapier, that either he might carry his friend Adam 
food, or else pledge his life in pawn for his loyaltie. It chaunced that 
day, that Gerismond, the lawfull king of France banished by 

11- 7- Torismond, who with a lustie crue of outlawes lived in that 
forest, that day in honour of his birth made a feast to all his bolde yeo- 
men, and frolickt it with store of wine and venison, sitting all at a long 
table under the shadow of lymon trees. To that place by chance for- 
une conducted Rosader, who seeing such a crue of brave men, having 



128 NOTES. 

store of that for want of which hee and Adam perished, hee stept boldly 
to the boords end, and saluted the company thus : — Whatsoever thou 
be that art maister of these lustie squiers, I salute thee as graciously as 
a man in extreame distresse may : know that I and a fellow friend of 
mine are here famished in the forrest for want of food : perish wee must, 
unlesse relieved by thy favours. Therefore, if thou be a gentleman, give 
meate to men, and to such men as are everie way woorthie of life. Let 
the proudest squire that sits at thy table rise and incounter with mee in 
any honorable point of activitie whatsoever, and if hee and thou proove 
me not a man, send me away comfortlesse. If thou refuse this, as a nig- 
gard of thy cates, I wijl have amongst you with my sword ; for rather 
wil I dye valiantly, then perish with so cowardly an extreame. Geris- 
mond, looking him earnestly in the face, and seeing so proper a gentle- 
man in so bitter a passion, was moved with so great pitie, that rising 
from the table, he tooke him by the hand and badde him welcome, will- 
ing him to sit downe in his place, and in his roome not onely to eat 
his fill, but be lorde of the feast, Gramercy, sir, quoth Rosader, but I 
have a feeble friend that lyes hereby famished almost for food, aged and 
therefore lesse able to abide the extremitie of hunger then my selfe, and 
dishonour it were for me to taste one crumme, before I made him part- 
ner of my fortunes : therefore I will runne and fetch him, and then I will 
gratefully accept of your proffer. Away hies Rosader to Adam Spen- 
cer, and tels him the newes, who was glad of so happie fortune, but so 
feeble he was that he could not go ; wherupon Rosader got him up on 
his backe, and brought him to the place. Which when Gerismond and 
his men saw, they greatly applauded their league of friendship ; and 
Rosader, having Gerismonds place assigned him, would not sit there 
himselfe, but set downe Adam Spencer. . . . 

"The flight of Rosader came to the eares of Torismond, who hearing 
that Saladyne was sole heire of the landes of Sir John of Bour- 
deaux, desirous to possesse suche faire revenewes, found just 
occasion to quarrell with Saladyne about the wrongs he proffered to his 
brother ; and therefore, dispatching a herehault, he sent for Saladyne in 
all poast haste : who, marvelling what the matter should be, began to 
examine his owne conscience, wherein hee had offended his highnesse ; 
but imboldened with his innocence, he boldly went with the herehault 
unto the court ; where, assoone as hee came, hee was not admitted into 
the presence of the king, but presently sent to prison. . . . 

" In the depth of his passion, hee was sent for to the king, who, with a 
looke that threatened death entertained him, and demaunded of him 
where his brother was ? Saladyne made answer, that upon some ryot 
made against the sheriffe of the shire, he was fled from Bourdeaux, but 
he knew not whither. Nay, villaine, quoth he, I have heard of the 
wronges thou hast proffered thy brother, since the death of thy father 
and by thy means have I lost a most brave and resolute chevalier. 
Therefore, in justice to punish thee, I spare thy life for thy fathers sake, 
but banish thee for ever from the court and countrey of France ; and see 
thy departure be within tenne dayes, els trust me thou shalt loose thy 
head. And with that the king flew away in a rage, and left poore Sala- 



USTTK-ODUCTION. 



29 



dyne greatly perplexed ; who grieving at his exile, yet determined to 
bear it with patience, and in penaunce of his former follies to travaile 
abroade in every coast till he had found out his brother Rosader." . . . 

[Meanwhile, " Rosader, beeing thus preferred to the place of a forrester 
by Gerismond, rooted out the remembrance of his brothers unkindnes 
by continuall exercise, traversing the groves and wilde forrests. . . . Yet 
whatsoever he did, or howsoever he walked, the lively image of Rosalynde 
remained in memorie." At length he meets Ganimede and Aliena,] 

" Ganimede, pittying her Rosader, thinking to drive him out of this 
amorous melancholy, said, that now the sunne was in his me- 

"^' ^' ridionall heat, and that it was high noone, therefore wee shep- 
heards say, tis time to go to dinner ; for the sunne and our stomackes 
are shepheards dials. Therefore, forrester, if thou wilt take such fare as 
comes out of our homely scrips, welcome shall answere whatsoever thou 
wantest in delicates. Aliena tooke the entertainment by the ende, and 
tolde Rosader hee should bee her guest He thankt them heartily, and 
sat with them downe to dinner, where they had such cates as countrey 
state did allow them, sawst with such content, and such sweete prattle, 
as it seemed farre more sweet than all their courtly junkets. Assone as 
they had taken their repast, Rosader, giving them thankes for his good 
cheare, would have been gone ; but Ganimede, that was loath to let him 
passe out of her presence, began thus : Nay, forrester, quoth she, if thy 
busines be not the greater, seeing thou saist thou art so deeply in love, 
let me see how thou canst wooe : I will represent Rosalynde, and thou 
shalt bee as thou art, Rosader. See in some amorous eglogue, how if 
Rosalynd were present, how thou couldst court her ; and while we sing 
of love, Aliena shall tune her pipe and plaie us melodie.* . . . 

" And thereupon, quoth Aliena, He play the priest : from this daye 
forth Ganimede shall call thee husband, and thou shalt cal Ganimede 
wife, and so weele have a marriage. Content, quoth Rosader, and laught. 
Content, quoth Ganimede, and chaunged as red as a rose : and so with a 
smile and a blush, they made up this jesting match, that after proved to 
be a marriage in earnest, Rosader full little thinking hee had wooed and 
wonne his Rosalynde. . . . 

"All this while did poore Saladyne, banished from Bourdeaux and the 
court of France by Torismond, wander up and downe in the for- 

^^' ^' rest of Arden, thinking to get to Lyons, a^nd so travail through 
Germany into Italic : but the forrest beeing full of by-pathes, and he un- 
skilfuU of the country coast, slipt out of the way, and chaunced up into 
the desart, not farre from the place where Gerismond was, and his broth- 
er Rosader, Saladyne, wearie with wandring up and downe, and hungry 
with long fasting, finding a little cave by the side of a thicket, eating such 
fruite as the forrest did affoord, and contenting himselfe with such drinke 
as nature had provided and thirst made delicate, after his repast he fell 
into a dead sleepe. As thus he lay, a hungry lyon came hunting downe 
the edge of the grove for pray, and espying Saladyne began to ceaze upon 

* " The wooing Eglogue betwixt Rosal5'nde and Rosader,' ' which follows, is too long 
fear quotation, and besides Shakespeare appears to have made no use of it. 



I30 



NOTES, 



him : but seeing he lay still without any motion, he left to touch him, \o\ 
that lyons hate to pray on dead carkasses ; and yet desirous to have 
some foode, the lyon lay downe, and watcht to see if he would stirre. 
While thus Saladyne slept secure, fortune that was careful of her cham- 
pion began to smile, and brought it so to passe, that Rosader, having 
stricken a deere that but slightly hurt fled through the thicket, came 
pacing downe by the grove with a boare-speare in his hande in great haste. 
He espyed where a man lay a sleepe, and a lyon fast by him : amazed at 
this sight, as he stoode gazing, his nose on the sodaine bledde, which 
made him conjecture it was some friend of his. Whereuppon drawing 
more nigh, he might easily discerne his visage, perceived by his phis- 
nomie that it was his brother Saladyne, which drave Rosader into a deepe 
passion, as a man perplexed at the sight of so unexpected a chance, mar- 
velling what should drive his brother to traverse those secrete desarts, 
without any companie, in such distressed and forlorne sorte. But the 
present time craved no such doubting ambages, for he must eyther re- 
solve to hazard his life for his reliefe, or else steale away, and leave him 
to the crueltie of the lyon. . . . 

" With that his brother began to stirre, and the lyon to rowse himselfe, 
whereupon Rosader sodainly charged him with the boare speare, and 
wounded the lion very sore at the first stroke. The beast feeling him- 
selfe to have a mortall hurt, leapt at Rosader, and with his pawes gave 
him such a sore pinch on the brest, that he had almost fain ; yet as a 
man most valiant, in whom the sparks of Sir John of Bourdeaux re- 
mained, he recovered himselfe, and in short combat slew the lion, who at 
his death roared so lowd that Saladyne awaked, and starting up, was 
amazed at the sudden sight of so monstrous a beast lying slaine by him, 
and so sweet a gentleman wounded. 

" Saladyne casting up his eye, and noting well the phisnomy of the for- 
rester, knew that it was his brother Rosader, which made him so bash 
and blush at the first meeting, that Rosader was faine to recomfort him, 
which he did in such sort, that hee shewed how highly he held revenge 
in scorne. Much ado there was betweene these two brethren, Saladyne 
in craving pardon, and Rosader in forgiving and forgetting all former in- 
juries ; the one humble and submisse, the other milde and cyrteousj 
Saladyne penitent and passionate, Rosader kynd and loving, that at length 
nature working an union of their thoughts, they earnestly embraced, and 
fell from matters of unkindnesse, to talke of the country life, which Ro- 
sader so highly commended, that his brother began to have a desire to 
taste of that homely content. In this humor Rosader conducted him to 
Gerismonds lodge, and presented his brother to the king,'discoursing the 
whole matter how all had hapned betwixt them. . . . Assoone as they had 
taken their repast, and had wel dined, Rosader tooke his brother Sala- 
dyne by the hand, and shewed him the pleasures of the forrest, and what 
content they enjoyed in that meai^i estate. Thus for two or three dayes 
he walked up and downe with his brother to shew him all the commodi- 
ties that belonged to his walke ; during which time hee was greatly mist 
of his Ganymede, who mused much with Aliena what should become of 
their forrester. 



INTROD UCTION. 1 3 1 

" With this Ganimede start up, made her ready, and went into the 
fields with Aliena, where unfolding their flockes, they sate them 

"^' ^' downe under an olive tree, both of them amorous, and yet di- 
versely affected, Aliena joying in the excellence of Saladyne,* and Gani- 
mede sorowing for the wounds of her Rosader ; not quiet in thought till 
shee might heare of his health. As thus both of them sate in their 
dumpes,"'they might espie where Coridon came running towards them, 
almost out of breath with his hast. What newes with you, quoth Aliena, 
that you come in such post? Oh, mistres, quoth Coridon, you have a 
long time desired to see Phoebe, the faire shepheardesse whom Mon- 
tanus loves ; so now if you please, you and Ganimede, to walk with mee 
to yonder thicket, there shall you see Montanus and her sitting by a 
fountaine, he courting her with her countrey ditties, and she as coy as if 
she held love in disdaine. The newes were so welcome to the two 
lovers, that up they rose, and went with Coridon. Assoone as they 
drew nigh the thicket, they might espie where Phoebe sate, the fairest 
shepherdesse in all Arden, and he the frolickst swaine in the whole for- 
rest, she in a petticote of scarlet, covered with a green mantle, and to 
shrowd her from the sunne, a chaplet of roses, from under which ap- 
peared a face full of natures excellence, and two such eyes as might have 
amated a greater man than Montanus. At gaze uppon this gorgeous 
nymph sate the shepheard, feeding his eyes with her favours, wooing 
with such piteous lookes, and courting with such deepe strained sighs, as 
would have made Diana her selfe to have been compassionate. . . . Ah, 
Phoebe, quoth he, whereof art thou made, that thou regardest not my 
maladie ? ... At these wordes she fild her face full of frowns, and made 
him this short and sharpe reply. — Importunate shepheard, whose loves 
are lawlesse, because restlesse, are thy passions so extreame that thou 
canst not conceale them with patience .? . . . Wert thou, Montanus, as 
faire as Paris, as hardy as Hector, as constant as Troylus, as loving as 
Leander, Phoebe could not love, because she cannot love at all : and 
therefore if thou pursue me with Phoebus I must flie with Daphne. 
Ganimede, overhearing all these passions of Montanus, could not brooke 
the crueltie of Phoebe, but starting from behind the bush said: And if, 
damzell, you fled from mee, I would transforme you as Daphne to a bay, 
and then in contempt trample your branches under my feet. Phoebe at 
this sodaine replye was amazed, especially when shee saw so faire a 
swaine as Ganimede ; blushing therefore, she would have bene gone, but 
that he held her by the hand, and prosecuted his reply thus : What, 
shepheardesse, so faire and so cruell ? Disdaine beseemes not cottages, 
nor coynesse maids ; for either they be condemned to be too proud, or 
too froward . . . Love while thou art yoong, least thou be disdained 

* "An incident in the novel, which accounts for the sudden falling in love of Sala- 
dyne and Aliena, is altogether omitted by Shakespeare. A band of robbers attempt to 
carrv off Aliena, Rosader encounters them single-handed, but is wounded and a)'- ost 
overpowered, when his brother comes to the rescue. While Ganimede is dressing Ros- 
ader's wounds. Aliena and Saladyne indulge in some ' quirkes and quiddities ot love,' 
the course of which is told with considfi-raMe detail. Aliena's secret is soon "ixiont.ed 
from her by Ganimede " (Wright). 



132 



NOTES. 



when thou art olde. Beautie nor time cannot be recalde, and if thou 
love, like of Montanus ; for if his desires are many, so his deserts are 
great. Phoebe all this while gazed on the perfection of Ganimede, as 
deeply enamored on his perfection as Montanus inveigled with hers. . . . 
" I am glad, quoth Ganimede,* you looke into your own faults, and 
see where your shoo wrings you, measuring now the pains of 
Montanus by your owne passions. Truth, q. Phoebe, and so 
deeply 1 repent me of my frowardnesse towards the shepheard, that 
could I cease to love Ganimede, I would resolve to like Montanus. 
What if I can with reason perswade Phoebe to mislike of Ganimede, wil 
she then favour Montanus .'' When reason, quoth she, doth quench that 
love that I doe owe to thee, then will I fancie him ; conditionally, that 
if my love can bee supprest with no reason, as being without reason, 
Ganimede will onely wed himselfe to Phoebe. I graunt it, faire shep- 
heardesse, quoth he ; and to feed thee with the sweetnesse of hope, this 
resolve on : I wil never marry my selfe to woman but unto thy selfe. . . . 
Ganimede tooke his leave of Phoebe and departed, leaving her a con- 
tented woman, and Montanus highly pleased. ... As she came on the 
plaines, shee might espy where Rosader and Saladyne sat with Aliena 
under the shade. ... I had not gone abroad so soone, quoth Rosader, 
but that I am bidden to a marriage, which, on Sunday next, must bee 
solemnpnized betweene my brother and Aliena. I see well where love 
leads delay is loathsome, and that small wooing serves where both the 
parties are willing, Truth, quoth Ganimede ; but what a happy day 
should it be, if Rosader that day might be married to Rosalynd. Ah, good 
Ganimede, quoth he, by naming Rosalynd, renue not my sorrowes ; for the 
thought of her perfections is the thrall of my miseries. Tush, bee of 
good cheare, man, quoth Ganimede : I have a friend that is deeply ex- 
perienst in negromancy and magicke ; what art can do shall be acted for 
thine advantage. I wil cause him to bring in Rosalynde, if either France 
or any bordring nation harbour her ; and upon that take the faith of a 
yoong shepheard. . . . 

" In these humors the weeke went away, that at last Sunday came. . . . 
^ As they were thus drinking and ready to go to church, came in 

Montanus, apparalled all in tawny, to signifie that he was for- 
saken : on his head hee wore a garland of willow, his bottle hanged by 
his side, whereon was painted dispaire, and on his sheephooke hung two 
sonnets, as labels of his loves and fortunes. . . . Gerismond, desirous to 
prosecute the ende of these passions, called in Ganimede, who, knowing 
the case, came in graced with such a blush, as beautified the christall of 
his face with a ruddie brightnesse. The king noting well the phisnomy 
of Ganimede, began by his favour to cal to mind the face of his Rosalynd, 
and with that fetcht a deepe sigh. Rosader, that was passing familiar 
with Gerismond, demanded of him why he sighed so sore ? Because, 
Rosader, quoth hee, the favour of Ganimede puts mee in minde of Rosa- 
lynde. At this word Rosader sighed so deeply, as though his heart would 

* This is at an interview with Phoebe after the latter has sent a letter to Ganimede by 
Montanus. 



INTRODUCTION. 133 

have burst. And whats the matter, quoth Gerismond, that you quite mee 
with such a sigh ? Pardon me, sir, quoth Rosader, because I love none 
but Rosalynd. And upon that condition, quoth Gerismond, that Rosa- 
lynd were here, I would this day make up a marriage betwixt her and 
thee. At this Aliena turnd her head and smilde upon Ganimede, and 
shee could scarce keep countenance. Yet shee salved all with secrecie; 
and Gerismond, to drive away his dumpes, questioned with Ganimede, 
what the reason was he regarded not Phoebes love, seeing she was as 
faire as the wanton that brought Troy to ruine ? Ganimede mildly an- 
swered, If I shuld affect the faire Phoebe, I should offer poore Montanus 
great wrong to winne that from him in a moment, that hee hath labored 
for so many monthes. Yet have I promised to the bewtiful shepheardesse 
to wed my selfe never to woman except unto her ; but with this promise, 
that if I can by reason suppresse Phoebes love towards me, she shall like 
of none but of Montanus. To that, quoth Phoebe, I stand ; for my love 
is so far beyond reason, as wil admit no persuasion of reason. For jus- 
tice, quoth he, I appeale to Gerismond : and to his censure wil I stand, 
quoth Phoebe. And in your victory, quoth Montanus, stands the hazard 
of my fortunes, for if Ganimede go away with conquest, Montanus is in 
conceit loves monarch : if Phoebe winne, then am I in effect most miser- 
able. We wil see this controversie, quoth Gerismond, and then we will 
to church : therefore, Ganimede, led us heare your argument. Nay, par- 
don my absence a while, quoth shee, and you shall see one in store. In 
went Ganimede and drest her self in womans attire, having on a gowne 
of greene, with a kirtle of rich sandall, so quaint, that she seemed Diana 
triumphing in the forrest : upon her head she wore a chaplet of roses, 
which gave her such a grace that she looked like Flora pearkt in the 
pride of all her floures. Thus attired came Rosalind in, and presented 
hir self at hir fathers feete, with her eyes full of teares, craving his bless- 
ing, and discoursing unto him all her fortunes, how shee was banished 
by Torismond, and how ever since she lived in that country disguised. . . . 

" While every one was amazed, . . . Coridon came skipping in, and told 
them that the priest was at church, and tarried for their comming. With 
that Gerismond led the way, and the rest followed ; where to the admi- 
ration of all the countrey swains in Arden, their mariages were solemnly 
solemnized,-' . . . 

It will be seen, that while the Poet followed the novel closely in the 
main incidents of his plot, the characterization is exclusively his own. 
The personages common to the novel and the play are as truly new crea- 
tions in the -latter as Jaques, Touchstone, and Audrey, who have no place 
in the former. Even the deviations in the conduct of the story, as Knight 
remarks, " furnish a most remarkable example of the wonderful superi- 
ority of his art as compared with the art of other men." We cannot dis- 
cuss these in detail ; the quotations we have given from the novel will 
enable the reader to examine them for himself.* 

* Compare what Campbell says in his introduction to the play: "The plot of this de- 
licious comedv was taken by our Poet from Lodge's ' Rosalynde, or Euphues' Golden 
Legacye.' Some of Lodge's incidents are judiciously omitted, but the greater part are 
x»reserved— the wrestling scene, the flight ot the two ladies into the forest of Arden, the 



134 



INTRODUCTION, 



We may add that the character of Adam has a peculiar interest from 
the fact that, according to a tradition current in the last century, the part 
was performed by Shakespeare himself. Steevens gives the following 
extract from Oldys's manuscript collections for a life of the Poet : 

"One of Shakespeare's younger brothers, who lived to a good old 
age, even some years, as I compute, after the restoration oi K. Cha?ies II., 
would in his younger days come to London to visit his brother Will, as 
he called him, and be a spectator of him as an actor in some of his own 
plays. This custom, as his brother's fame enlarged, and his dramatic 
entertainments grew the greatest support of our principal, if not of all 
our theatres, he continued it seems so long after hir, brother's death, as 
even to the latter end of his own life. The curiosity at this time of the 
most noted actors [exciting them] to learn something from him of his 
brother, &c., they justly held him in the highest veneration. And it may 
be well believed, as there was besides a kinsman and descendant of the 
family, who was then a celebrated actor* among them, this opportunity 
made them greedily inquisitive into every little circumstance, more espe- 
cially in his dramatick character, which his brother could relate of him. 
But he, it seems, was so stricken in years, and possibly his memory so 
weakened with infirmities (which might make him the easier pass for a 
man of weak intellects), that he could give them but little light into their 
enquiries ; and all that could be recollected from him of his brother Will, 
in that station was, the faint, general, and almost lost ideas he had of hav- 
ing once seen him act a part in one of his own comedies, wherein being 
to personate a decrepit old man, he wore a long beard, and appeared 
so weak and drooping and unable to walk, that he was forced to be sup- 
ported and carried by another person to a table, at which he was seated 
among some company, who were eating, and one of them sung a song." 

Capell also has the following : 

"A traditionail story was current some years ago about Stratford, — 
that a very old man of that place, — of weak intellects, but yet related to 
Shakespeare, — being ask'd by some of his neighbours, what he remem- 
ber'd about him ; answer'd, — that he saw him once brought on the stage 
upon another man's back ; which answer was apply'd by the hearers, to 
his having seen him perform in this scene the part of Adam." 

This story came to Capell from Mr. Thomas Jones, of Tarbick, in Wor- 
cestershire ; and Malone suggests that he may have heard it from Rich- 
ard Quiney (who died in 1656, at the age of 69) or from Thomas Quiney, 
Shakespeare's son-in-law (who lived till about 1663, and who was 27 
years old when the poet died), or from one of the Hathaways. 

meeting there of Rosalind with her father and mother, and the whole happy termination 
of the plot, are found in the prose romance. Even the names of the personages are but 
slightly changed ; for Lodge's Rosalind, in her male attire, calls herself Ganymede, and 
her cousin, as a shepherdess, is named Aliena But never was the prolixity and ped- 
antry of a prosaic narrative transmuted by genius mto such magical poetry. In the days 
of James I., George Heriot, the Edinburgh merchant who built a hospital still bearing his 
name, is said to have made his fortune by purchasing for a trifle a quantity of sand that 
had been brought as ballast by a ship from Africa. As it was dry, he suspected from its 
weight that it contained gold, and he succeeded in filtering a treasure from it. Shakes- 
peare, like Heriot, took the dry and heavy sand of Lodge, and made gold out of it." 
* Charles Hart, who was perhaps a grandson of Shal<:espeare's sister Joan. 



ACT I. SCENE I. 



135 




ACT I. 

Scene I. — i. As I remember^ etc. We follow the folio here, with 
Halliwell, K., and others. Warb., who has been followed by D. and 
some other editors, thought it necessary to mend the grammar by read- 
ing " upon this fashion : he bequeathed," etc. W, points it thus ; 
"fashion, — bequeathed," etc., which is plausible. Bequeathed is then in 
the past tense, the subject being omitted ; as Abbott (Gr, 399) explains 
charged ]ws>\. below. With our pointing bequeathed is a participle, and 
charged may be considered the same, or as Abbott gives it. 

2, Poor a. This transposition of the article is akin to that still allowed 
after how and so. Cf Gr. 85, 422. In A. and C. v. 2. 236, we have " What 
poor an instrument." K. says that Orlando is " quoting the will, and 
poor is the adjective to a thoitsand crowns,,''^ Caldecott puts the whole 



136 NOTES. 

passage thus : " It was upon this fashion bequeathed me by [my father 
in his] will, but poor a (the poor pittance of a) thousand crowns ; and, 
as thou sayest, [it was, or he there] charged my brother," etc. 

3. On his blessing. On is often so used in asseverations and obsecra- 
tions (Schmidt). Cf T. of A. iii. 5. 87 : " On height of our displeasure," 
etc. Wr. quotes Hey wood, English Traveller: "This doe vpon my 
blessing." 

To breed=io bring up, educate ; as in 9 and loi below. Cf our pres- 
ent use in well-bred, good breedi?tg, etc. 

5. At school. That is, at the university. Cf Ham. i. 2. 113 : "going 
back to school in Wittenberg." On goldenly, cf Macb. i. 7. 33 : "golden 
opinions." /V^/— proficiency. Cf the use of the verb in i Hen. IV. 

iii. I, 166 : 

" Exceedingly well read, and profited 
In strange concealments," etc. 

7. Stays. Detains; Cf. i. 3. 65 below : " we stay'd her for your sake.*' 
Warb. substituted "sties," and Johnson approved the change. 

II. Manage. The training of a horse (Fr. manege\ Cf Rich. II. iii 
3. 179 ; and see also Mer. p. 153. For the ellipsis in dearly hiredy sec 
Gr. 403. 

13. The which. See Gr. 270. 

15. Countenance. Bearing, behaviour. Cf I Hen. IV. v. I. 69; "By 
unkind usage, dangerous countenance." Wr. explains it as — "favour, 
regard, patronage;" Walker, "the style of living which he allows me;" 
J. H., "the way in which he acknowledges or entertains me." Seems'^ 
seems as if it wished (Capell). Cf Macb. p. 170. 

17. Hinds. Menials, servants ; as in M. W. iii. 5. 99 and R. and J. \. 
7. 73. Elsewhere the word = boor, peasant ; as in L. L. L. i. 2. 123, etc. 

18. Mines. Undermines, seeks to destroy. 

20. Mutiny. Rebel. S. also uses the form mutiney both verb and 
noun ; as in Ham. iii. 4. Zt^^ v. 2. 6, and K. John, ii. i. 378. 

26. What make you here? What do you here.? As Halliwell notes, 
the phrase is very common, and is quibbled upon in Z. L. L. iv. 3. 190 
fol. and in Rich. III. i. 3. 164 fol. Cf iii. 2. 206 below. 

29. Marry. Originally a mode of swearing by the Virgin ; but its 
derivation had come to be forgotten in the time of S. Wr. remarks that 
" here it keeps up a poor pun upon war." 

32. Be nanght awhile. " This is merely a petty oath, equivalent to 
a mischief on yoit, or sometimes Xo get you gone immediately'''' (Halliwell). 
Steevens quotes Storie of King Darius, 1565 : "Come away, and be 
nought awhyle ;" and other commentators add many other examples 
of the phrase from writers of the time. 

34. The allusion to the story of the prodigal {Luke, xv.) is obvious. 
Cf. W. T. iv. 3. 103 ; "a motion of the Prodigal Son" (that is, a puppet- 
show, illustrating the story) ; and 2 Hen. IV. ii. I. 157 : "the story of the 
Prodigal, or the German hunting in water-work" (where the context 
shows that it was used in tapestries and hangings). See also T.G.ofV. 
ii. 3. 4, M. ofV. ii. 6. 17, etc. 

40. Him. Often put, by attraction tO tvhom understood, for he whom 



ACT L SCENE I. 13 7 

(Gr. 208). Cf. A. and C. iii. I. 15 : "Acquire too high a fame when him 
we serve 's away," etc. 

41. In the gentle condition of blood. " On any kindly view of relation- 
ship" (M.). 

46. Your coming, etc. That is, you are more closely and directly the 
representative of his honours, and therefore entitled to the respect due 
to him. Warb. suggested " his revenue^^ which Hanmer adopted, 
Halliwell quotes 2 Hen. IV. iv. 5. 41 : 

**My due from thee is this imperial crown, 
Which, as immediate from thy place and blood, 
Derives itself to me." 

"Whiter thinks that Orlando uses reverence in an ironical sense, and 
means to say that " his brother, by coming before him, is nearer to a 
respectable and venerable elder of a family." 

48. What, boy ! Oliver attempts to strike him, and Orlando in return 
seizes his brother by the throat. 

49. Young. Raw, inexperienced. Cf. Lodge (p. 122 above): "I am 
yongest to performe any martial exploytes," etc. See also Macb. iii. 4. 
144 : "We are yet but young in deed. As Wr. notes, "too young" is 
used in just the contrary sense in Much Ado, v. i. 119. 

52. Villain. Oliver uses the word in the present sense ; Orlando, 
with a play upon this and the old meaning of serf or base-born fellow. 
Cf T. A. iv. 3. "^i, Lear, iii. 7. 78, etc. The word was sometimes used 
as a familiar form of address, and even as a term of endearment ; as in 
C. of E. i. 2. 19, tV. T.I2. 136, etc. In T. N. ii. 5. 16 and T. and C. iii. 2. 
35 it is applied to women in this sense. 

66. Such exercises^ etc. Wr. quotes T. G. of V. \. 3. 30: 

••There shall he practise tilts and tournaments, 
Hear sweet discourse, converse with noblemen, 
And be in eye of every exercise 
Worthy his youth and nobleness of birth.*' 

67. AUotery. Allotment, portion. S. uses the word only here. 

68. Go buy. Go to buy ; a very common ellipsis with go in S. Cf. i. 
2. 223 below. As Abbott remarks (Gr. 349), even now we retain a dis- 
like to use the formal to after go and come, and therefore substitute and. 
Cf ii. 3. 31 below : " wouldst thou have me go and beg my food V 

69. And what, etc. W. points the passage thus : " And what wilt 
thou do, beg, when that is spent ?" Beg is then=/ beg, as pray often = 
I pray ; but S. does not elsewhere use beg in that way, and the ordinary 
pointing gives a sufficiently clear meaning. 

70. Get you iji. On the use oi you, see Gr. 232. 

76. Lost my teeth, etc. M. quotes Tacitus, A7in. i. 34: "quidam [milites], 
prensa manu Germanici per speciem osculandi, inseruerunt digitos, ut 
vacua dentibus ora contingeret ;" a mute appeal to the same effect as 
Adam's. 

78. Spoke. See Gr. 343. 

79. Grow upon me. Get the better of me, get the upper hand of me 
(Schmidt); or, perhaps, "increase in disobedience to my authority" 
(Halliwell). Cf J. C. ii. i 107 : "growing on the south" (that is, gaining 



138 



NOTES. 



on it, tending that way) ; Hen. V. iii. 3. 55 : " sickness growing Upon our 
soldiers," etc. 

80. Physic your rankness. Check this rank growth of your insolence. 

83. Wrestler. " Wrastler " in the folio here and elsewhere ; but the 
other spelling was also used in the time of S. The former indicates the 
pronunciation, which is still a vulgar one in New England. 

85. So please you. If it please you ; of which our " if you please " is a 
corruption. Cf. Sonn. 136. ii : "so it please thee," etc. See Mer. pp. 
134, 136 ; and for the so, Gr, 133. 

90. Some eds. print "Good monsieur Charles! — what's," etc. ; making 
Good monsieur Charles ! a response to the greeting = " you are very 
kind" (M.). 

97. Good leave. Full permission. Cf. M. of V. iii. 2. 326 and i Hen. IV. 
i. 3. 20. 

102. She. The ist and 2d folios have "he ;" the 3d and 4th, "she." 
For the "indefinite" use of the infinitive in to stay (very common in S.), 
see Gr. 356. 

107. The forest of Arden. The Forest of Ardennes was in the north- 
east of France, "between the Meuse and the Moselle;" but it is not 
necessary to suppose that the poet had this fact in mind. He took the 
scene from Lodge's novel, lions and all, and did not trouble himself about 
its geography, which has nevertheless been a sore vexation to some of 
his commentators. K. has well said : " We most heartily wish that the 
critics would allow poetry to have its own geography. We do not want 
to know that Bohemia has no seaboard ; we do not wish to have the 
island of Sycorax defined on the map; we do not require that our Forest 
of Arden should be the Arduenna Sylva of Caesar and Tacitus, and that 
its rocks should be 'clay-slate, grauwacke-slate, grauwacke, conglom- 
erate, quartz rock, and quartzose sandstone.' We are quite sure that 
Ariosto was thinking nothing of French Flanders when he described 

how , 

two tountams grew. 
Like in the taste, but in effects unlike, 

Flac'd in Ardenna, each in other's view: 
Who tastes the one, love's dart his heart doth strike; 

Contrary of the other doth ensue, 
Who drinks thereof their lovers shall mislike.' 

We are equally sure that Shakespeare meant to take his forest out 
of the region of the literal when he assigned to it a palm-tree and a 
lioness." 

There was also a Forest of Arden in Warwickshire. Drayton, in his 
Matilda, 1594, speaks of "sweet Arden's nightingales;" and again, in 
the Idea : 

"Where nightingales in Arden sit and sing, ~ 
Amongst the daintie dew-impearled flowers." 

108. A many. See Hen. V. p. 170, or Gr. 87. 

1 10. Fleet. Not elsewhere used transitively by S. The intransitive 
verb occurs often ; as in Sonn. 19. 5, M. of V. iii. 2. 108, iv. i. 135, K. John, 
ii. I. 285, etc. 

111. The golden world. That is, the golden age. 



ACT I. SCENS I. 139 

112. What Often so used, "superfluously introducing a question" 
(Schmidt). Cf. J. C. iv. i, 10, Ham. i. i. 19, T. of S. iv. 3. 59, etc. 
i\2>. Shall. Must, will have to. Gr. 315. 

121. Withal. With this, with it. Cf. i. 2. 22 and ii. 7. 48 below. Gr. 
196. 

122. Intendment. Intention, purpose. Cf. Hen. V. i. 2. 144 ; " the 
main intendment of the Scot." 

127. By underhand means. " Because of the obstinacy which he at- 
tributes to him" (Wr.). 

129. // is. Used contemptuously ; as in M. of V. iii. 3. 18 : "It is the 
most impenetrable cur;" and Hen. V. iii. 6. 71 : " Why, 't is a gull, a 
fool," etc. In Macb. i. 4. 58 ("It is a peerless kinsman") the familiarity 
is affectionate. See also iii. 5. 112 below. 

130. Emulator. Used by S. only here. For emttlation — txwy, jeal- 
ousy, see y. C. ii. 3. 14 and note in our ed. p. 153. So emulous = twV\' 
ous ; as in T. and C. ii. 3. 79, 242, etc. 

131. Contriver. Plotter ; as in T. A. iv. I. 36, J. C. ii. I. 158, and Macb. 
iii. 5. 7. Contrive is used in the same bad sense ; as in iv. 3. 134 below. 
Cf. Hen. V. iv. i. 171, J. C. ii. 3. 16, Ham. iv. 7. 136, etc. 

132. His nattiral brother. Halliwell remarks that " natural did not 
formerly imply, as now, illegitimacy." He quotes Nomendator^ 1585 : 
''■ Filius naturalis, a natural or lawfully begotten sonne." 

133. Had as lief. Good old English, but condemned by some modern 
grammar-mongers because they cannot " parse " it. Lief is the A. S. 
leaf, dear. The comparative liefer or lever and the superlative liefest 
are common in our early writei'S. Cf Gower (quoted by Tooke) : 

"And let no thyng to thee be lefe 
, . Which to another man is grefe ;" 

and agani : 

" Three porates which, I fynde, 
Ben levest unto mans kynde ;" 

Chaucer, C. T. 10995 • " It were me lever than twenty pound worth lond ;" 
Id. 1 1004 : " And he had lever talken with a page," etc. S. does not 
use liefer, but has liefest in 2 He7t. VI. iii. I. 164 : " my liefest liege." Cf 
Spenser, F. Q. iii, 2. 33 : " my liefest liefe " (my dearest love). We have 
both /z^and liefer in E. Q. iii. I. 24 : 

" These six would me enforce by odds of might 
To chaunge my liefe, and love another Dame ; 
That death me liefer were then such despight" — 

that is, death would be more welcome to me than such despite. The 
old use of the comparative is also illustrated by E. Q. i. 9. 32 : " For 
lever had I die then see his deadly face." 

Lief at first = dear, beloved, pleasing, came to mean willing. Spenser 
has lief or loth*=w'\\\mg or unwilling; as in E. Q. iii. 9. 13 : " Or them 
dislodge, all were they liefe or loth ;" and Id. vi. i. 44 : " He up arose, 
however liefe or loth." From this the transition is easy to the adverbial 
use = willingly, as in hadaslief=ViO\Ji\d as willingly. The forms /z'^and 

* Cf. Chaucer's " For lefe ne lothe" (for friend nor enemy), "al be him loth or lefe" 
(whether it be disagreeable or agreeable to him), etc. 



14© 



NOTES. 



lieve are used interchangeably in the folios. The latter is not unknown 
in good writers of recent date. Matzner quotes Sheridan : " I had as 
lieve be shot." 

134. Thou wert best. Another old English idiom, now obsolete. Cf. 
y. C. iii. 3. 12 : "Ay, and truly, you were best," etc. The pronoun was 
originally a dative {to you it were best), but came to be regarded as a 
nominative ; as in if you please =\i it please you (see on 85 above). See 
Gr. 230, 352, and cf. 190. 

136. Practise. Use stratagems, plot (Schmidt). Cf. 2 Heu. VI. ii. i. 
171 : " Have practis'd dangerously against your state." Elsewhere it is 
followed by on or upon ; as in Much Ado, ii. i. 398, Lear, iii. 2. 57, 0th. ii. 
I. 319, etc. 

140. Brotherly. An adverb, as in the only other instances of the word 
in S. : 3 Hen. VI. iv. 3. 38, and Cymb. iv. 2. 158. 

141. Anatomize. Used literally (^dissect) in Lear, iii. 6. 80; figura- 
tively (as here and in ii. 7. 56 below) in R. of L. 1450, A. W. iv. 3. 37, etc. 

147. Gamester. " A frolicsome fellow, a merry rogue " (Schmidt) ; as 
in T of S. ii. i, 402 and Hen. VIII. i. 4. 45. It means a gamljler in L. L. L. 
\. 2. 44, Hen. V. iii. 6. 1 19, etc. ; and a harlot in A. W. v. 3. 188 and Per. iv. 
6.81. 

148. Than he. See Gr. 206, and cf. lines 14 and 250 of the next scene. 
Coleridge, writing of this passage in 1810, says: "This has always 

appeared to me one of the most un-Shakspearian speeches in all the 
genuine works of our poet ; yet I should be nothing surprised, and great- 
ly pleased, to find it hereafter a fresh beauty, as has so often happened 
to me with other supposed defects of great men." 

In 1818, he adds : " It is too venturous to charge a passage in Shaks- 
peare with want of truth to nature ; and yet at first sight this speech of 
Oliver's expresses truths which it seems almost impossible that any 
mind should so distinctly, so livelily, and so voluntarily have presented 
to itself in connection with feelings and intentions so malignant, and so 
contrary to those which the qualities expressed would naturally have 
called forth. But I dare not say that this seeming unnaturalness is not 
in the nature of an abused wilfulness, when united with a strong intel- 
lect. In such characters there is sometimes a gloomy self-gratification 
in making the absoluteness of the will {sit pro ratione voluntas !) evident 
to themselves by setting the reason and the conscience in full array 
against it." 

149. Full of noble device. " Of noble conceptions and aims." Wr. 
adds that in a copy of the fourth folio which formerly belonged to 
Steevens he has marked these lines as descriptive of Shakespeare 
himself. 

150. Sorts. Ranks, classes. Cf. T.A. i. i. 230; 

" With voices and applause of every sort. 
Patricians and plebeians," etc. 

152. Misprised. Undervalued, slighted. Cf. i. 2. 164 below, and A. W. 
iii. 2. 33 ; also the noun misprision in A. W. ii. 3. 159. 

\^\. Kindle. Incite. (Zi. enkindle \\\ Macb.\. 2,. ^'2-1. Thither— ihtx&to. 
On go about=set about, undertake, see M. jV. D. p. 177. 



ACT I. SCENE II. 141 

Scene II. — The name of Rosalind, here taken by S. from Lodge, 
was a favourite one with our early poets (Halliwell). 

I. Szveet my coz. Cf. J. C. ii. i. 25 : " dear my lord," etc. Gr. 13. Coz 
was the common abbreviation of cousin, on the use of which see Rich. II. 
p. 158. 

3. /. Not in the folios ; inserted by Rowe. 

5. Learn. Teach ; but always with the object expressed. Cf. R. and J. 
iii. 2. 12 : "learn me how to love ;" Cymb. \. 5. 12 : "learn'd me how To 
make perfumes," etc. Gr. 291. 

8. So. See on i. i. 85 above, or Gr. 133 ; and for so . . . as, in 11, 
Gr. 275. 

II. Tempered. "Having a certain state or quality, conditioned" 
(Schmidt). Cf. T. and. C. ii. 3. 265 : 

"were your days 
As green as Ajax', and your brain so temper' d," etc. 

See also Heit. V. p. 156. 

14. Nor none. For the double negative, so common in S., see Gr.406. 
Cf. 23 below. 

15. Like. Likely, as very often in S. Cf. iv. i. 63 below. 

16. Perforce. Here=by force ; as in C. of E. iv. 3. 95, Rich. II. ii. 3. 
121, y)/. iV. D. ii. I. 26, etc. Elsewhere it is = of necessity ; as in M. N. D. 
iii. 2. 90, Hen. V. v. 2. 161, etc. 

17. Render. Give back. Cf. ii. 5. 25 below ; also M. ofV. iv. i. 383, 
Hett. V. ii. 4. 127, etc. 

22. Withal. See on i. i. 121 above. 

24. A pure blush. A blush and no more (Schmidt and M.) ; or, per- 
haps, a blush that has no shame in it (Wr.). Come off— get off, escape ; 
as in M. ofV. i. i. 128, Cor. ii. 2. 116, etc. 

27. The good hoiiseivife Fortune, etc. Cf. ^ and C iv. 15. 44: "That 
the false housewife Fortune break her wheel." There, as in Hen. V. v. 
i. 85 (" Doth Fortune play the huswife with me now ?") housewife or hiis- 
wife (the latter is the usual spelling in the folio) is used contemptuously 
= hussy. Cf. Ham. ii. 2. 515. J. H. thinks the word has that meaning 
here. Fortune is represented with a wheel, as Fluelen explains {Hen. V. 
iii. 6. 35), "to signify to you, which is the moral of it, that she is turning, 
and inconstant, and mutability, and variation." 

34. Honest. Chaste, virtuous ; as often. Cf. M. W. iv. 2. 107, 136, etc. 

35. Ill-favouredly. Ill-favoured, ugly. Cf. iii. 5. 53: " ill-favour'd 
children." Rowe thought it necessary to substitute illfavoured here ; 
but cf. iii. 2. 215 : "looks he as freshly," etc. Schmidt (p. 1418) gives 
many examples of this use of adverbs for adjectives. Y ox favour— idiC^, 
see y. C. p. 131 ; and cf. Gen. xxix. 17, xxxix. 6, xli. 2, 3,4, etc. 

36. From Fortune's office, etc. " S. constantly harps on the motive 
/powers of human action : nature, destiny, chance, art, custom. _ In this 

place, he playfully distinguishes nature from chance ; \\\ W. T. iv. 3, he 
argues that the resources of art are themselves gifts of nature : 

' Nature still is bettered by no mean 
But nature made that mean.' 

In Macb. i. 3 he shows that destiny can work itself without our help (' ^ 



142 NOTES. 

chance will have me king, why, chance may crown me '), and in Ham. iii. 
4. 161, he splendidly exhibits the force of custom in ' almost changing the 
stamp of nature'" (M.). 

39. When Naticre, etc. " True that fortune does not make fair feat- 
ures ; but she can mar them by some accident. So nature makes us 
able to philosophize, chance spoils our grave philosophy by sending us 
a fool " (M.). 

44. Natural. Fool, idiot. Cf. Temp. iii. 2. 37, and R. and J. ii. 4. 96. 

47. Who, perceiving, ^\.z. The folio reads: "who perceiueth our nat- 
urall wits too dull to reason of such goddesses, hath sent this Naturall," 
etc. Malone inserted "and" before hath; the reading in the text is 
that of the 2d and later folios. 

M. paraphrases the passage thus : " Or, perhaps, on the other hand, 
good mother Nature thinks us so dull that she sends us her ' natural ' to 
sharpen our wits." 

To reason of=to talk about, discuss. For of, see Gr. 174. 

49. Whetstone of the wits. The title of Robert Recorde's Arithmetic 
is "The Whetstone of Witte." 

50. Wit! whither wander you ? " Wit, whither wilt?" (iv, i. 151) was 
a proverbial saying ; perhaps, as St. suggests, the beginning of some old 
ballad. 

58. Naught. Worthless, bad. Cf Much Ado, v. i. 157 : " the which if 
I do not carve most curiously, say my knife's naught ;" Hen. V. i. 2. 73 : 
" corrupt and naught," etc. The word in this sense is usually spelled 
naught in the early eds. ; but nought when it means nothing (Schmidt). 

And yet was not the knight forsworn. Boswell quotes the old play of 
Damon and Fit hi as : 

" I haue taken a wise othe on him : have I not, trow ye, 
To trust such a false knave upon his honestie? 

As he is an honest man (quoth you?) he may bewray all to the kinge. 
And breke his oth for this never a whit." 

Halliwell compares Rich. III. iv. 4. 366 fol. 

73. Old Frederick. The reading of the folios, which, however, assign 
the following speech to Rosalind. As Frederick was Celia's father (v. 4. 
149), some editors have changed Frederick to " Ferdinand ;" others iiave 
given, as we do, the next speech to Celia. The latter seems the simpler 
way out of the difficulty; and such errors in the names of characters are 
by no means rare in the early eds. 

74. To honour him enough. The pointing of the folio. Some eds. fol- 
low Hanmer's " to honour him : enough !" but the original reading is 
quite in the manner of S. 

75. Taxation. Satire, invective. Cf /^;t: = accuse, inveigh against, in 
ii. 7. 71, 86 below ; also in Mtuh Ado, i. i. 46, T. and C. i. 3. 97, Ham. I. 
4. 18, etc. We still speak of " taxing a person with " anything. 

Whipping, as Douce shows, was the usual punishment of fools. 

79. By my troth. The most common form of the petty oath of which 
d' my troth ! in troth ! good troth ! and the simple troth ! are variations. 
For t7'oth in its original sense ( = truth), cf M. N.D. ii. 2. 36 : "to speak 
troth ;" and see notes in our ed, pp. 151, 153. 



ACT I. SCENE II. 143 

80. Was silenced. " Perhaps referring to some recent inhibition of the 
players" (Wr.). 

84. Ptit on us. Inflict on us, force upon us ; or perhaps simply = tell 
us, as Schmidt and Wr. explain it. Cf. M. for M. ii. 2. 133, T. N. v. i. 
70, Ham. i. 3. 94, etc. 

90. Sport! of what colour? The Coll. MS. gives "Spot !" and Coll. 
suggests that Celia is ridiculing Le Beau's affected pronunciation of the 
word; but colour may be = kind, as Schmidt makes it. Cf Z^^r, ii. 2. 
145 : "a fellow of the self-same colour," etc. 

94. Laid 071 with a trowel. This was no doubt a proverbial hit at 
clumsy or gross flattery ; but M. strangely explains it, " well rounded off 
into a jingle; the lines being pronounced 

'As wit and fortune will. Or as 
The destinies decree.' " 

Schmidt thinks it is " probably = without ceremony." 

95, 96, Rank. There is a similar play upon the word in Cymb. ii. i. 17 
(Schmidt). 

97. Amaze. Confuse, put me in a maze. Cf V. and A. 684: "a 
labyrinth to amaze his foes ;" K. John, iv. 3. 140 : " I am amaz'd, me- 
thinks, and lose my way ;" M. for M. iv. 2. 224 : " Yet you are amazed ; 
but this shall absolutely resolve you," etc. 

loi. To do. A common idiomatic use of the infinitive active. Cf 
T. N. iii. 2. 18 : " What 's to do V etc. Or. 359. It is still in good use 
in m.any phrases ; as " a house to let," for which some over-fastidious 
folk think it necessary to substitute " to be let." 

104. Conies. The singular verb is often found before two singular 
subjects (Or. 336), as well as before a plural subject (Gr. 335) ; and here 
we have a combination of the two cases. 

106. Proper. Comely. See Mer. p. 132, note on A proper man'' s pict- 
ure. Cf Heb. xi. 23. 

108. With bills on their necks. Farmer and D. would make these 
words part of the preceding speech, and Coll. favours that arrangement. 
The bill was " a kind of pike or halberd, formerly carried by the English 
infantry, and afterwards the usual weapon of watchmen " (Nares). It 
was also used by foresters. Lodge describes Rosader " with his forrest 
bill on his necke," that is, on his shoulder. For the play upon bill, cf 
Mtich Ado, iii. 3. 191 and 2 Hen. VI. iv. 7. 135. 

On the whole, we think that the entire speech belongs to Rosalind, and 
that the main pun, so to speak, is on presence and presents, as Juhnsoii 
and Capell have suggested. Of course there may be a secondary play on 
the two senses of bills. 

III. Which Charles. See Gr. 269 ; and for that— so that, Gr. 283. 

115. Dole. Grief Cf J/. A^. Z>. v. i. 283 : "What dreadful dole is 
here !" Ham. i. 2. 13 : " delight and dole," etc. 

125. Broken music. Chappell (quoted by Wr.) says: "Some instru- 
ments, such as viols, violins, flutes, etc., were formerly made in sets of 
four, which when played together formed a 'consort' If one or more of 
the instruments of one set were substituted for the corresponding ones 
of another set, the result was no longer a ' consort,' but ' broken music' " 



144 NOTES. 

For the play upon the expression, cf. Hen. V. v. 2. 263 and T. and C. iii. 
I. 52. 

The use of see here has troubled some of the critics. Warb. wished to 
read " set," and Heath "get ;" but, as Johnson remarks, see is used col- 
loquially for perception. Cf Luke, xii. 55 : " see the south wind blow ;" 
Pope, Odyssey: " See from their thrones tliy kindred monarchs sigh," etc. 
In the present case, we might say that, though Rosalind speaks of see- 
ing " broken music," she has in mind the wrestling. 

137. Looks successfully. Looks as if he would be successful. Cf. 
Hen. V. iv. pro!. 39 : " But freshly looks ;" Temp. iii. I. 32 : " You look 
wearily ;" Rich. IIL. i. 4. I : " Why looks your grace so heavily to-day ?" 
etc. See also on 35 above. 

138. Are you crept? Have you crept .? See Gr. 295. 
140. So please you. See on i. i. 85 above. 

142. In the iuen. The folios have " man," which some editors retain, 
but it is probably a misprint for " men." 

148. The princess calls. Theo. changed this to " the princesses call ;" 
Walker, D., and M. take " princess" to be a plural (Gr. 471). Coll. ex- 
plains the passage thus : " Celia had desired Le Beau to call Orlando to her, 
and Orlando, seeing two ladies, very naturally answers, * I attend them.'' " 

157. Your eyes, etc. Warb. substituted "our eyes" and "oar judg- 
ment," as does the Coll. MS. ; but the meaning, as Johnson notes, is 
*' if you could use your ozun eyes to see, or your own judgmei^t to know 
yourself, the fear of your adventure would counsel you." 

164. Misprised. See on i. i. 152. 

165. Might. May. Cf. Gr. 370, 371. 

167. Wherein. Apparently used, as other relative words sometimes 
are, before the antecedent clause : Punish me not with your hard thoughts 
for denying you anything ; wherein (in doing which) I confess myself 
much guilty. Johnson wished to read " therein," and M. Mason "here- 
in." For the reflexive use of me, see Gr. 223. 

170. Gracious. Favoured, acceptable. Cf. T. A. i. i. 11 (cf 170 and 
429) : "gracious in the eyes of Rome ;" 3 Hen. VI. iii. 3. 117 : "gracious 
in the people's eye." Schmidt makes it = happy, fortunate. 

173. 07ily, etc. That is, I only fill up, etc. Cf Macb. iii. 6. 2 : " Only 
I say ;" J. C. v. 4. 12 : " Only I yield to die," etc. Gr. 420. 

185. Working. S. often uses the word of mental operations (Schmidt). 
Cf Sojin. 93. II, M.for M. ii. i. 10, L. L. L. iv. i. 33, etc. 

190. You mean, etc. Theo. suggested that An should precede this 
sentence, and M. Mason if ; but no change is called for. M. remarks 
that S. seems to have been thinking of i Kings, xx. 11. 

191. Come your ways. Cf ii. 3. 66 and iv. i. 165 below. 

192. Speed. Patron, protector. Cf ^^«. K v. 2. 194 : " Saint Dennis 
be my speed !" R. and y. v. 3. 121 : " Saint Francis be my speed !" etc. 
The word often means good fortune, success ; as in T. of S. ii. i. 139, 
W. T. iii. 2. 146, etc. So the verb often = succeed ; as in A. W. iii. 7. 44, 
T. G. of V. iv. 4. 112, etc. It is also used in wishing success; as in 
M. N. D. i. I. 180 : " God speed fair Helena !" etc. See also Gen. xxiv. 
12 and 2 John, 10, 11. 



ACT I, SCENE 11. 



145 



197. Should down. A common ellipsis in S. See Gr. 405. 

199. Well-breathed. In full breath, well started. Schmidt compares the 
Fr. mis en haleine. Cf. T. of S. ind. 2. 50 : " as swift As breathed stags ;" 
A. and C. iii. 13. 178: "I will be treble -sinew'd, hearted, breath'd ;" 
^. L. L. V. 2. 659 : 

"A mail so breath'd that certain he would fight: yea 
From mom till night." 

209. Still. Constantly. Gr. 69. 

210. Shouldst. We should say " wouldst." Gr. 322. 

216. Calling. "Appellation; a very unusual, if not unprecedented 
sense of the word" (Steevens). Elsewhere S. uses it in the modern 
sense ; but (with the exception oi Per. iv. 2. 43) only of the ecclesiastical 
profession. 

221. Ujito. In addition to. Cf. Rich. II. v. 3. 97 : " Unto my mother's 
prayers I bend my knee." For to in the same sense, see Gr. 185. 

225. At heaj't. To the heart. Cf. T. and C. iii. 2. 202. For the omis- 
sion of the article, see Gr. 90. 

227. But justly as. Just as, only as (Caldecott). Hanmer and Steevens 
omit all. The 2d folio has " all in." 

229. This. A chain ; as appears from iii. 2. 169. 

Out of suits, etc. Either "turned out of the service of Fortune and 
stripped of her livery" (Steevens), or "out of her books or graces" 
(Johnson). " Out of sorts " is an anonymous emendation. 

230. Could. Could with a good will, would like to. Cf. A. and C. i. 
2. 131 : "The hand could pluck her back that shov'd her on." 

232. My better parts. Caldecott quotes Macb. v. 8. 18 : "For it hath 
cow'd my better part of man." 

234. A quintain. That is, a mere wooden image of a man. The 
quintain, in its simplest form, was an upright post, with a cross-bar turn- 
ing on a pivot at the top ; at one end of this bar was a broad target, at 
the other a heavy sand-bag. The sport was to ride at full speed at the 
target, hit it with a lance, and get out of the way before the sand-bag 
should swing round and strike the tilter on the back. The figure of a 
Saracen, with a shield on his left arm, and a drawn sabre in his right 
hand, sometimes took the place of the post with its cross-bar. Running 
at the quintain is said to have been a favourite sport at country weddings 
in Oxfordshire as late as the end of the 17th century. According to 
Halliwell, a quintain is still preserved at Ofifham, in Kent, the owner of 
the estate being obliged under some ancient tenure to support it. The 
same editor quotes Minsheu, Diet. 1617 : "A quintaine or quintelle, a 
game in request at marriages, when Jac and Tom, Dick, Hob and Will, 
strive for the gay garland ;" also Randolph, Poems, 1642 : 

" Foot-ball with us may be with them balloone ; 
As they at tilts, so we at quintaine run ; 
And those old pastimes relish best with me, 
That have least art, and most simplicitie." 

237. Overthrown more, etc. Cf. what Celia says in iii. 2. 197 : " It is 
young Orlando, that tripped up the wrestler's heels and your heart both 
in an instant." 

K 



146 



NOTES. 



239. Have with you. I'll go with you ; a common idiom. Cf. M. W. 
ii. I. 161, 229, 239, iii. 2, 93, L. L. L. iv. 2. 151, Cor. ii. i. 286, etc. 

241. Conference. Conversation ; as often. Cf. Much Ado, ii. 3. 229 : 
" the conference was sadly borne," etc. Eor the measure, see Gr. 494. 

243. Or . . . or. See Gr. 136. 

247. Condition. Temper, disposition (Johnson). Cf. M. of V. i. 2. 
143 : "the condition of a saint," etc. The word is here a quadrisyllable. 
See Gr. 479. 

248. Misconstrues. The folio has " misconsters," the old spelling of 
the word, which Halliwell and W. retain. So construe was spelled and 
pronounced "conster." 

249. Humorous. Capricious. Cf. ii. 3. 8 and iv. i. 18 below. See 
also K. John, iii. i. 119 ; "her humorous ladyship" [Fortune], etc. 

250. /. See on i. i. 148 above, and cf. iii. 2. 144 below. 

253. Was. Changed by Halliwell to " were ;" but see Gr. 333 and cf, 
412. 

255. Smaller. The folio has "taller;" but cf. i. 3. 113 and iv. 3. 87 
below. We adopt Malone's emendation, as nearest to the old text, 
Cf. Greene, James IV.: "my small son." "Shorter," "lower," and 
" lesser " are other modern readings. 

262. Argument. Cause, reason. Cf. iii. i. 3 below; also M. W. ii. 2. 
256, T. N. iii. 3. 12, Rich. III. i. i. 148, etc. 

265. On my life. A common oath. Cf. M. W. v. 5. 200, W. T. v. i. 43 
etc. So C my life {M. W. i. i. 40), by my life'(\Y. I. 143 and v. 2. 65 be- 
low), etc. 

267. In a better world. In better times. Cf. Rich. II. iv. i. 78 : "in 
this new world" (this new state of things); T. and C. iii. 2. 180: "in 
the world to come " (in coming time, in future generations), etc. 

269. Rest. Remain. Cf. M. of V. i. i. 152 : " rest debtor ;" W. T. iii. 
3. 49 : " still rest thine," etc. See also iii. 2. 64 below. On bounden, cf. 
K. John, iii. 3. 29 ; and see Gr. 344. 

270, From the smoke, etc. That is, from bad to worse. Smother— 
" thick and suffocating smoke " (Schmidt). 

Scene III. — 11. My child's father. That is, him whom I hope to 
marry, Rowe (2d ed.) changed it to "my father's child," which is ap- 
proved by Coleridge and H., and adopted by K., D., and Coll., who 
finds it in the Coll. MS. But, as M. remarks, " S. would have smiled at 
the emendation." The original reading would undoubtedly be indelicate 
now, but it was not considered so in the poet's day. Besides, the change 
is inconsistent with the conduct of the dialogue, in which Rosalind is 
represented as constantly thinking and speaking of her lover (Halliwell). 
For a fuller discussion of the subject, see White's Shakespeare's Scholar. 

12. This zuorking-day world. This every-day life of ours. Cf.A.andC* 
i. 2. 55 : "but a worky-day fortune." 

18. Hem them away. Cough them away; as if the "burs" were in 
her throat or chest (M.). In cry hem and have him, there is perhaps a 
play on hem and him. 

26, On sjich a sudden. Not elsewhere used by S. On the sudden 



ACT I. SCENE I IL 147 

seems to be his favourite phrase, but he uses also 07i a sudden and of a 
sudden. With — {ox. For other peculiar uses oizuith, see Gr. 193, 194. 

31. Chase. That is, following the argument; "alluding, possibly, to 
the deer, quibbling on the word dearly " (Halliwell). For a play on dear 
and deer, see V. and A. 231, M. W. v. 5. 18, 123, L. L. L. iv. i. 115, T. of S. 
V. 2. 56, 1 IIe7i. IV. V. 4. 107, etc. 

32, JDearly. Heartily. Cf. Ham. iv. 3. 43 ; and see Temp. p. 124 
(note on The dear'st o'' M loss) or Rich. II. p. 154. 

35. Deserve well. Deserve it well ; that is, to be hated. Rosalind 
purposely misinterprets the phrase. Theo. wished to read " Why should 
I hate?" Malone explains it thus: "Celia answers Rosalind, who had 
desired her not to hate Orlando, as if she had said love him." 

39. Safest haste. "The haste which is your best safety" (M.). "Fast- 
est haste" is a stupid suggestion of the Coll. MS. 

40. Cousin. Niece ; as in T. N. i. 3. 5, T. and C. i. 2. 44, etc. Elsewhere 
S. uses it for nephew, uncle, brother-in-law, and grandchild ; also as a 
mere complimentary form of address between princes, etc. 

41. If that. For that as "a conjunctional affix," see Gr. 287. Cf. 47 
just below. 

45. Ifzvith myself, etc. If I know my own mind. 
51. Fu7'gation. Exculpation. Cf. Hen. VIII. v. 3. 152 : " and fair 
purgation," etc. See also v. 4. 43 below. 

61. My father was no traitor. " Rosalind's brave spirit will not allow 
her to defend herself at her father's expense, or to separate her cause 
from his. There are few passages in S. more instinctively true and 
noble than this. She had not offended her uncle, even in thought, 
though every one else was doing so. But the least suggestion that her 
father is a traitor rouses her in arms to defend him " (M.). 

62. Good my liege. See on i. 2. I above. 

63. To think. As to think. See Gr. 281. My poverty = onQ so poor 
as I. 

65. Stayed. See on i. i. 7 above. 

68. Remorse. Pity, compassion. Cf. M. of V. iv. I. 20 : "mercy and 
remorse ;" K. John, iii. 4. 50 : " tears of soft remorse," etc. The only 
meaning of remorseful in S. is compassionate, and of remorseless (as in 
our day) pitiless. 

69. That time. At that time. Wr. quotes A. and C. ii. 5. 18 : 

"That time— O times!— 
I laugh'd him out of patience." 

71. Still. See on i. 2. 209 above. 

72. At an instant. For a;2 = one, see Gr. 81. 

73. Jicnds swans. M. says "the swans which draw Juno's chariot;" 
but we are not aware of any classical authority for this. Her chariot 
was drawn by peacocks, as S. himself makes it in Temp. iv. i. 73. Wr. 
suggests that we ought to read " Venus' " here, as Ovid {Met. x. 708) 
represents her as drawn by swans; but S. {Temp. iv. i. 94) describes her 
as "dove-drawn," which is also in accordance with the old mythology. 
S. probably wrote "Juno's" here, forgetting or confusing the ancient 
fables for the moment, as the Rugby master seems to have done above. 



148 NOTES, 

76. Patience. A trisyllable here. Gr. 479, 

79. Show. Appear ; as often in S. Cf. V. and A. 366 : " Show'd like 
two silver doves ;" R. of L. ded. 5 : " my duty would show greater ;" 
M. of V. iv. I, 196 : "doth then show likest God's," etc. For the thought 
Wr. compares A. and C. ii. 3. 28 : 

"Thy lustre thickens 
When he shines by." 

85. Provide yourself. Prepare yourself, get ready to go. Cf. Ham. iii, 
3. 7 r " We will ourselves provide," etc. 

94. No, hath not? The pointing of the folio, which seems well enough. 
Sr, and Halliwell read " no hath not ;" and the latter calls it " a singular 
idiom, found also in other plays, which perhaps would be better under- 
stood by the modern reader if printed no ''hath not.'' " 

95. Which teacheth thee, etc. "Which ought to teach you as it has 
already taught me" (M.). Theo. changed thee to "me" and am to 
"are ;" but the sense does not require the former change, nor the gram- 
mar — that is, Elizabethan grammar — the latter one. Even the learned 
Ben Jonson could write {The Fox, ii. i) "both it and I am at your ser- 
vice," and {Cyjithid's Revels, i. i) "My thoughts and I am for this other 
element, water." Cf. Gr. 412. 

100. The charge. The ist folio has "your change," the other folios 
"your charge." Sr. proposed the charge, which D. and W. adopt. Ma- 
lone explains "your change " as "your change or reverse of fortune.'''' 

102. For, by this heaven, etc. " By this heaven, or the light of heaven, 
with its lustre faded in sympathy with our feelings" (Caldecott). 

105. To seek my uncle, etc. Campbell remarks : " Before I say more 
of this dramatic treasure, I must absolve myself by a confession as to 
some of its improbabilities. Rosalind asks her cousin Celia, ' Whither 
shall we go ?' and Celia answers, ' To seek my uncle in the forest of 
ATden.' But, arrived there, and having purchased a cottage and sheep- 
farm, neither the daughter nor niece of the banished Duke seem to 
trouble themselves much to inquire about either father or uncle. The 
lively and natural-hearted Rosalind discovers no impatience to embrace 
her sire until she has finished her masked courtship with Orlando. But 
Rosalind was in love, as I have been with the comedy these forty years ; 
and love is blind — for until a late period my eyes were never couched so 
as to see this objection. The truth, however, is, that love is wilfidly 
blind ; and now that my eyes are opened, I shut them against the fault. 
Away with your best-proved improbabilities, when the heart has been 
touched and the fancy fascinated ! When I think of the lovely Mrs. 
Jordan in this part, I have no more desire for proofs of probability on 
this subject (though 'proofs pellucid as the morning dews'), than foi 
*the cogent logic of a bailiff's writ.'" 

108. Beauty provoketh thieves, ^tz. Cf. Milton, C^wz^j-, 393 : 

" But Beauty, like the fair Hesperian tree, 
Laden with blooming gold, had need the guard 
Of dragon watch with unenchanted eye, 
To save her blossoms and defend her fruit," etc. 



ACT 11. SCENE I. I4g 

112. Stir. Excite, rouse. Cf. W. T. v. 3. 74 : "I am sorry I have thus 
far stirred you," etc. 

113. Because that. See on 41 above, or Gr. 287; and for common^ 
Gr. I. 

114. Suit me all poi7its. Dress myself in all respects. For the omis- 
sion of the preposition, see Gr. 202. 

115. Curtle-axe. Cutlass. It is the Fr. coitfelas, which from the form 
courtelas became corrupted into atrtlass, ciertlaxe, and airtle-axe. These 
are but a few of the old spellings, but will serve to show how a sword 
was gradually turned into an "axe." Spenser {F. Q. iv. 2. 42) calls it 
"curtaxe." Cutlash and aitlace (Johnson) were later forms. For the 
derivation of the word, see Wb. 

118. Swashing. Swaggering, blustering. Cf. jwaj'/z^r^ braggart, bully, 
in He7i. V. iii. 2. 30. Swashbuckler was used in the same sense. Calde- 
cott quotes Antichrist, 1550: "Swashing abbottes, which will be called 
and regarded as princes, and kepe a state, as if they were lordes." 

119. Mannish. Cf Cynib. iv. 2. 236: "though now our voices Have 
got the mannish crack ;" and T. and C. iii. 3. 217 : "A woman impudent 
and mannish grown." 

120. Outface it. Face it out. Cf Much Ado, v. I. 94: " Scambling, 
outfacing, fashion-monging boys." For the use oiit, see Gr. 226. 

126. Aliena. Wr. says, "with the accent on the second syllable;" 
but surely Celia is a trisyllable, as in 65 above, and Aliena accented on 
the penult, as it ought to be. 

127. Assayed. Tried, attempted. Cf 0th. ii. 3. 207 : "Assays to lead 
the way," etc. 

131. Woo.. Solicit, gain over. Cf Rich. II. i. 4. 28: "Wooing poor 
craftsmen with the craft of smiles ;" T. and C. iii. I. 162 : " I must woo 
you To help unarm our Hector," etc. 

135. Go we in content. The reading of the later folios ; the first has 
"in we." Content is a noun, as in iii. 2. 24 below. 



. ACT II. 

Scene I. — i. Exile. Accented on the last syllable, as in R. and J. iii. 
3. 20, 140 (but exile in 13 and 43), v. 3. 211, etc. S. also uses the verb 
with both accents. 

2. Old custom. Continued habit. 

5. Here feel we not, etc. This is the reading of the folios, retained by 
Caldecott, Halliwell, K., V., and H. Most editors follow Theo. in read- 
ing "feel we but." K., following Whiter, thus defends the old text: 
" We ask, what is ' the penalty of Adam ?' All the commentators say, 
*the seasons' difference.' On the contrary, it was, ' In the sweat of thy 
face shalt thou eat bread.' Milton represents the repentant Adam as 
thus interpreting the penalty : 

'On me the curse aslope 
Glanced on the ground ; -with labour I i7mst earn 
My bread; what harm? Idleness had been worse.* 



ijo NOTES. 

The beautiful passage in Cowper's Task^ describing the Thresher, wiD 

also occur to the reader : 

'See him sweating o'er his bread 
Before he eats it. 'T is the primal curse^ 
But soften'd into mercy; made the pledge 
Of clieerful days, and nights without a groan.* 

•The seasons' difference/ it must be remembered, was ordained before. 
the fall, and was in no respect 2i penalty. We may therefore reject the 
received interpretation. But how could the Duke say, receiving the 
passage in the sense we have suggested, 

'Here feel we 7iot the penalty of Adam?' 
In the first act, Charles the Wrestler, describing the Duke and his co- 
mates, says, they ' fleet the time carelessly as they did in the golden worlcV 
One of the characteristics of the golden world is thus described by 
Daniel : .^,^j ^^^^^p^ golden age! 

Not for that rivers ran 
With streams of milk and honey dropp'd from trees; 

Not that the earth did gage 

Unto the husbandman 
Her voluntary truits, free without fees.' 

The song of Amiens, in the fifth scene of this act, conveys, we thinlc, the 

same allusion — ,,„, , ,, , .,. , 

*Who doth ambition simti, 

And loves to live i' the sun. 

Seeking the food he eats, 

A nd pleas' d with what he gets.* 

The exiled courtiers led a life without toil — a life in which they were 
contented with a little — and they were thus exempt from the 'penalty of 
Adam.' We close, therefore, the sentence at 'Adam.' 'The seasons' 
difference' is now the antecedent of 'these are counsellors;' the freedom 
of construction common to Shakespeare and the poets of his time fully 
warranting this acceptation of the reading. In this way, the Duke says, 
* The differences of the seasons are counsellors that teach me what I am; 
— as, for example, the winter's wind — which, when it blows upon my body, 
I smile, and say, this is no flattery.' We may add that, immediately fol* 
lowing the lines we have quoted from the Paradise Lost, Adam alludes 
to ' the seasons' difference,' but in no respect as part of the curse : 

' With labour I must earn 
My bread; what harm? Idleness had been worse. 
My labour will sustain me ; and lest cold 
Or heat should injure us, his timely care 
Hath unbesought provided, and his hands 
Cloth' d us unworthy, pitying while He judg'd. 
How much more, if "we pray Him, will his ear 
Be open, and his heart to pity incline, 
And teach us further by what means to shun 
Th' inclement seasons, rain, ice, hail, and snow.* 

On the other hand, W., Wr., and M. take the ground that "the sea- 
sons' difference " was the penalty of Adam. Wr. quotes Bacon, who 
says that in the golden age of Paradise there was " a spring all the year 
round :" and M. refers to Milton, F. L. x. 668-679. 



ACT IL SCENE I, 



I5J 



It is not easy to choose between the two readings, and in such cases 
Dur rule is to adhere to the early text. We shall not quarrel with those 
Bvho prefer the very plausible emendation of Theo. 

6. As. As for instance, namely. Cf. iv, 3. 141 below. See also Macb, 
V. iii. 25, etc. Gr. 113. 

8. Which. As to which. See Gr. 272. 

13. Like the toad, etc. Cf. 3 Hen. VI. ii. 2. 138 : " venom toads ;" Rich, 
III. i. 2. 148 : " Never hung poison on a fouler toad," etc. See also 
Macb. p. 228. Halliwell says that a woodcut in A New Years Gifte to 
the Pope's Holitiesse, 1579, represents a monk of Swinstead Abbey ex- 
tracting poison from a load, with which he poisons King John. The same 
editor gives many quotations to show that better naturalists than S. be. 
lieved in the toad-stone^ the "precious jewel" of the text. Fenton, in his 
Secrete Wonders of Nature^ 1 569, says that "there is founde in the heades 
of old and great toades, a stone which they call Borax or Stelon : it is 
most commonly founde in the head of a hee toad, of power to repulse 
poysons, and that it is a most soveraigne medicine for the stone." The 
Italian physician Camillo, in his Spectihitn Lapidzim, describes it by the 
names of Borax, Nosa, and Crapondinus, and as being found in the brain 
of a toad just killed. Its virtues are also set forth in Lupton's Thon- 
sand Notable Things^ 1586, in Topsell's History of Serpents, 1608, and 
by other learned writers of the time. Fuller, in his Church History, tells 
us that " some report that the toad before her death sucks up, if not 
prevented with sudden reprisal, the precious stone, as yet but a jelly, in 
her head, grudging mankind the good thereof." 

Allusions to the toad-stone are frequent in the literature of that day. 
Meres, in his Palladis Taniia (see p. lo above), says : " As the foule 
toade hath a faire stone in his head ; the fine golde is founde in the 
filthie earth ; the sweete kernell lyeth in the harde shell," etc. Lyly, 
in his Eicphnesy also says that "the foule toad hath a faire stone in his 
head." Cf. B. and Y., Monsieur Thomas: 

*' in most physicians' heads 
There is a kind of loadstone bred ;" 

Ben Jonson, The Fox : " His saffron jewel with the loadstone in it," 
etc. 

18. I would not cha7ige if. The folios make these words the end of the 
preceding speech, but Upton has been generally followed in transferring 
them to Amiens. Capell defends the old text. 

21, Go and kill us. See on i. i. 68 ; and for tis, Gr. 223. 

22. Irks me. Cf the Eton Lati?t Grammar: "Taedet, it irketh." 
See also i Hen. VI. i. 4. 105 : "it irks his heart ;" and 3 Hen. VI. ii. 2; 6 : 
*'it irks my very soul." S. uses the word only three times. Irksome oc- 
curs in iii. 5. 94 below. 

Fool is sometimes used as "a term of endearment or pity" (Schmidt). 
Cf. W. T. ii. I. 18 : " Do not weep, poor fools ;" 3 Hen. VI. ii. 5. 36 : " So 
many weeks ere the poor fools will can," etc. Halliwell quotes a poem 
by Harington, addressed to his wife : 

"Tims then I doe rejoice in that thou grievest, 
Apd yet, sweet foole, I love thee, thou beleevest."* 



'52 



NOTES. 



23. Burghers. Citizens. Cf. M. of V, i. i. 10 : " Like signiors and 
rich burghers on the flood." In Sidney's Arcadia (quoted by Steevens) 
deer are called "the wild burgesses of the forest;" and in Drayton's 
Polyolbion the hart is "a burgess of t^e wood." Malone adds from 
Lodge's novel, 

"About her wond'riiig stood 
The citizens of the wood." 

24. Confines, For the accent, c£ Sonn. 83. 4 : " In whose confine im- 
mured is the store," etc. S. oftener accents it on the first syllable ; as 
in J. C. iii. i. 272 : " Shall in these confines with a monarch's voice," 
etc. Cf. Gr. 490. 

Forked heads. Of arrows. Wr. quotes A scham, Zbxt'/'////?/^.' "Corn- 
modus the Emperoure vsed forked heades, whose facion Herodaine doeth 
lyuely and naturally describe, sayinge that they were lyke the shap of a 
new mone wherwyth he would smite of the heade of a birde and neuer 
misse." 

26. Jaqites. A dissyllable, as always in S. Cf. A. W. iii. 4. 4 : "I am 
Saint Jaques' pilgrim, thither gone;" Id. iii. 5. 98: "There's four or 
five, to great Saint Jaques bound," etc. 

27. In that kind. In that way. Cf. Much Ado, ii. i. 70 : "if the prince 
do solicit you in that kind," etc. 

30. lay along. Lay at full length. Cf. J- C. iii. i. 15 : "That now on 
Pompey's basis lies along," etc See also iii. 2. 225 below. 

" Shakspeare," said Coleridge, " never gives a description of rustic 
scenery merely for its own sake, or to show how well he can paint nat- 
ural objects : he is never tedious or elaborate : but while he now and 
then displays marvellous accuracy and minuteness of knowledge, he 
usually only touches upon the larger features and broader characteristics, 
leaving the fillings up to the imagination. Thus, in As You like It, he 
describes an oak of many centuries' growth in a single line — 

' Under an oak, whose antique root peeps out.* 

Other and inferior writers would have dwelt on this description, and 
worked it out with all the pettiness and impertinence of detail. In 
Shakspeare, the * antique' root furnishes the whole picture." 
Steevens quotes Gray's Elegy, loi : 

"There at the foot of yonder nodding beech 
That wreathes its old fantastic roots so high, 
His listless lengtli at noontide would he stretch, 
And pore upon the brook that babbles by." 

31. Antique. Spelt antique or antick in the early eds. without regard 
to the meaning, but always accented on the first syllable. Sec Macb. 
p. 234. 

33. Sequester''d. Separated from his companions. Cf. T. A. ii. 3. 75 : 
*' Why are you sequester'd from all your train .?" Here the accent is on 
the first syllable, as in the noun in 0th. iii. 4. 40 : " A sequester from 
liberty, fasting, and prayer." In T. and C. iii. 3. 8, it is accented as in 
the text. 

36. The wretched animal, etc. In a marginal note to a similar passage 



ACT II. SCENE I. 



153 



In Drayton's Folyolbion, it is said that '* the harte weepeth at his dying : 
his tears are held to be precious in medicine." We find the same idea in 
Batman, Sidney, and other writers of the time. Malone quotes Virgil, 
^71. vii. 500 : 

" Saucius at quadrupes nota intra tecta refugit, 
Successitque gemens stabulis ; questuque, cruentus, 
Atque imploiauti siinilis, tectum omne replevit." 

39, Coiirs'd. Chased. Cf. Macb. i. 6. 21 : " We cours'd him at the 
heels," etc. 

41. The 7nelancholy Jaques. M. observes : " To furnish a marked con- 
trast to these characters [Orlando, Rosalind, and the Duke] — to assail 
them one after another with attempts to shake their trust in mankind — 
to whisper sneers against love and happiness — to suggest that their life, 
simple though it is, still has the taint of the world upon it — and to pat- 
ronize enthusiastically such rascalities as accident biings there — is the 
part assigned to the melancholy Jaques ; a character created, with con- 
summate skill, to throw the whole meaning of the play into a clear light, 
and to bring out the moral lesson conveyed by it. He has been most 
profligate in his youth ; has travelled in Italy, the mother of all iniqui- 
ties, to gain experience there ; and has spent his estate in so doing. He 
is therefore persuaded that the knowledge of human nature which he 
has thus gained will be of great service to the world, if it can only be 
induced to listen. But how instantly and humiliatingly is he put to rout 
by the three glad hearts that he tries to sour! Orlando absolutely re- 
fuses to rail against the world in his company, and reciprocates with a 
hearty good will, though jocosely, all Jaques' expressions of antipathy to 
his ways of thinking. Rosalind' sarcastically asks him about his travels. 
What have they done for him? Has he learned to despise home dress 
and home manners ? sold his own lands to see other people's ? learned 
to chide God for making him the countryman he is ? And what is this 
melancholy of which he boasts ? Something as bad or worse than the 
most giddy merriment ; something that incapacitates him from action as 
completely and more permanently than drunkennes.5. Above all, the 
Duke tells him, without the slightest reserve, although with perfect good 
humour, that his gifts as a moralist can do nothing for the world; that 
his former life unfits him to be a reformer ; that if he attempts such a 
task, he will only corrupt the world by his experience ; and to all these 
buffetings, right hand and left, Jaques replies in a way which shows that 
he is incapable of understanding their depth of meauing. He escapes 
from Rosalind and Orlando because he does not like the 'blank verse' 
they talk; and shirks the admonition of the Duke and all its serious 
wisdom, by arguing that no one would have a right to be offended by 
satire of a general character, or need apply it to himself— as if the Duke 
had been admonishing him to avoid offending others, and not to avoid 
corrupting others." 

For a similar (but earlier) view of Jaques's character, see White's 
Shakespeare' s Scholar (New York, 1854) or his Tale of the Forest of Ar- 
dent in the Galaxy for April, 1875. Ii"^ the latter he remarks : "What 
Jaques called melancholy was what we now call cynicism — a sullen, 



154 



NOTES, 



scoffing, snarling spirit. And this Jaques had. He was simply a cynic, 
and a very bitter one. . . . He was one of those men who believe in 
nothing good, and who, as the reason of their lack of faith in human 
nature and of hope of human happiness, and their want of charity, tell 
us that they have seen the world. ... In brief, Jaques was Falstaff, with- 
out his fat and his humour." 

See also Gervinus, Shakespeare Commentaries, trans, by Miss Bunnett, 
revised ed. (1875), p. 393 fol.* 

42. TJi' extremest -verge. , The very edge. S. accents extreme on the 
first syllable, except in Sonn. 129. 4, 10 (Schmidt). Extremest, which he 
uses often, has the modern accent. Cf. M. of V. i. i. 138, Rich. II. iv. i. 
47, etc. 

44. Moralize. Moralize upon, draw a moral from. Cf. T. ofS. iv. 4. 
81 : " I pray thee, moralize them," etc. 

46. Into. Changed by Pope to "in." Cf. Gr. 159. 

Needless. Not needing it. Cf careless — uncared for {Macb. i. 4. 11), 
sightless = unseen {Macb. i. 7. 23), etc. Gr. 4. Steevens quotes L. C. 38-40 
and 3 Hen. VI. v. 4. 8. 

49. Being there. As to his being there. 

50. Of. By. Gr. 170. F^/?7^/=" sleek and prosperous" (Wr.), or 
"soft, delicate " (Schmidt). The folios have "friend," which Halliwell, 
K., and V. retain. 

52. Fhcx. Flow, confluence. S. uses the word only here and in iii. 
2. 63 below. 

57. Bankrupt. M. remarks : "A few dates will show the painful re- 
ality of this simile to S. His own father had been bankrupt at Strat- 

* On the other hand, Hudson {Shakespeare's Life, Art, and Characters, 1872, vol. i. 
p. 343) says: "Jaques is, I believe, an universal favourite, as indeed he well may be, for 
he is certainly one of the Poet's happiest conceptions. . . . Shedding the twilight of his 
merry-sad spirit over all the darker spots of human life and character, he represents the 
abstract and sum-total of an utterly useless yet perfectly harmless man, seeking wisdom 
by abjuring its first principle. ... On the whole, if in Touchstone there is much of the 
philosopher in the fool, in Jaques there is not less of the fool in the philosopher ; so that 
the German critic, Ulrici, is not so wide of the mark in calling them ' two fools.' " 

Ulrici {Shakspeare's Dramatic Art. trans, from the 3d. ed. by L. D. Schmitz, 1876, 
vol. ii. p. 18) says: '"The melancholy Jaques is not the fool by profession, he appears 
rather to be simply a comic character par excellence ; but his meditative superficiality, 
his vitty sentimentality, his merry sadness, have taken so complete a hold of his nature, 
that it seems to contradict itself, and therefore upon a closer examination distinctly bears 
the impress of folly, although it certainly is an original kind of folly." 

Dowden (see p 20 above) remarks : " The melancholy of Jaques is not grave and earn- 
est, but sentimental, a self-indulgent humour, a petted foible of character, melancholy 
prepense and cultivated. . . . Jaques died, we know not how or when or where ; but he 
came to life again a century later, and appeared in the world as an Englisli clergyman ; 
we need stand in no doubt "as to his character, for we all know him under his later name 
of Lawrence Sterne. . . . His whole life is unsubstantial and unreal ; a curiosity of dainty 
mockery. To him ' all the world 's a stage, and all the men and women nierely players ;' 
to him sentiment stands in place of passion ; an aesthetic, amateurish experience of various 
modes of life stands in place of practical wisdom ; and words in place of deeds. . . . The 
world, not as it is, but as it mirrors itself in his own mind, which gives to each object a 
humorous distortion ; this is what alone interests Jaques. Shakspere would say to us, 
'This egotistic, contemplative, unreal manner of teaching life is only a delicate kind of 
foolery. Real knowledge of life can never be acquired by the curious seeker for expe 
nen^es.' But this Shakspere says in his non-hortatory, undogm^tic W3,y." 



ACT 11. SCENES II. AND III 155 

ford. From 1579 he had been 'warned,' and had ceased to attend the 
market. In 1586 he was superseded in his position as alderman ; and 
in 1592 it is mentioned that he ' coome not to churche for feare of 
processe for debt.'" 

59. The country. The article is omitted in the ist folio, but inserted 
in the 2d. The body — ''ih^ whole system" (M.). 

62. Up. Often used, as now, to " impart to verbs the sense of comple- 
tion " (Schmidt). Cf. " dries up " ( V. and A. 756), " burnt up " ( Temp. 
iii. I. 17), " mould up " [Hen. VIII. v. 5. 27), "poisons up " (I. L. L. iv. 3. 
305), etc. Caldecott quotes Robinson's trans, of More's Utopia: "olde 
age kylleth them vp ;" and Ascham, Toxophilus : " were quyte slayne vp." 

67. Cope. Encounter. Cf. Hen. VIII. \. 2. 78 : " to cope malicious 
censurers ;" V. and A. 888 : "who shall cope him first.?" etc. 

68. Matter. Good sense, d. Much Ado, ii. i. 344: "all. mirth and 
no matter;" Ham. ii. 2. 95 : "more matter with less art," etc. 

Scene II. — 3. Are of consent ajid stifferance. That is, have connived 
at it and allowed it. M. says : " This is a quasi-legal term, applied to a 
landlord who takes no steps to eject a tenant whose time is expired." 

7. Untreasiir' d. Used by S. only here; and treasure (~ enrich) only 
in Sonn. 6. 3. 

8. Roynish. Scurvy, mean (Fr. rogneux). Cf. ronyon {Macb. i. 3. 6 
and M. W. iv. 2. 195), which has the same origin. 

13. Paris. Gifts, qualities; as in i. I. 131 above. Ci. L. L. I. iv. 2. 
118: "I thy parts admire," etc. 6^rfl!(:^j- = attractions. Cf. So7tn. 103. 
12 : "your graces and your gifts." Wrestler is here a trisyllable. See 
Gr. 477. 

17. Brother. M. Mason suggested "brother's," since the gallant is 
Orlando. 

19. Suddenly. Quickly. Cf. M. W. iv. i. 6 : " Mistress Ford desires 
you to come suddenly." See also ii. 4. 95 below. 

20. Inquisition. Inquiry ; as in the only other instance of the word 
in S. {Temp. i. 2. 35). Quail— ^lig, slacken. 

Scene III. — 3. Memory. Memorial, reminder. Cf. Cor. iv. 5. 77 : 

"a good memory 
And witness of the malice and displeasur 
Which thou shouldst bear me." 

4. What make you here ? Cf. i. i. 26 and iii. 2. 206. 

7. So fond, etc. So foolish as. Gr. 281. Cf. M. of V. iii. 3. 9 : 

" I do wonder, 
Thou naughty gaoler, that thou art so fond 
To come abroad with him at his request." 

On/^^^, see il/^r. p. 152. 

8. The bonny priser. The gallant prize-fighter. The 1st folio has 
"bonnie," the later folios "bonny." Warb. changed it to "bony "{ = big- 
boned, sturdy), but S. does not use the word elsewhere, and it is doubtful 
whether it had that sense in his day. He has bo7iny several times = 
blithe, and once (2 Hen. VI. v. 2. 12 : " the bonny beast he lov'd so well "^ 



iS6 



NOTES. 



with quite the same force as here. Priser, or prizer, he uses only here 
and in T. and C. ii. 2, 56, where it is=appraiser. For humorous see on i. 
2. 249. 

12. No more do yours. Schmidt makes no niore — 2& much, and adds 
that "we should expect no lessy He finds a parallel instance in the 
troublesome passage in A. IV. i. 3. 170 : " I care no more for than I do 
for heaven," etc. It is really to be classed, we think, with the many pe- 
culiar cases of "double negative" which he discusses in his Appendix, 
p. 1420 ; such as V. and A. 478 : " To mend the hurt that his unkindness 
marr'd " (where inarr\i — we should say made — duplicates the idea in 
hurt) ; M. of V. iv. i. 162 : " Let his lack of years be no impediment to 
let him lack a reverend estimation" (either = no motive to let him lack, 
or = no impediment to let him have) ; Cymb. i. 4. 23 : "a beggar without 
less quality" (= "with less," or "without more," both of which have 
been proposed as emendations), etc. In the present passage but as ^«<?- 
mies'=no\kv\\\g else than enemies, and A'i? more do yours is an emphatic 
reiteration of the implied negative. 

There are other passages, as Schmidt has noted, in which " a negative 
seems to be wanting, as being borne in mind, though not expressed;" as 
iii, 2. 27 below : " he that hath learned no wit by nature nor art may com- 
plain of good breeding " (that is, of not having had good breeding), etc. 
See also on ii. 4. 70 below. 

15. Envenoms. Poisons. Cf. K. John, iii. I. 63, Hain. iv. 7. 104, etc. 
There may be ah allusion to the poisoned garment and diadem which 
Medea sent to Creusa, or the poisoned tunic of Hercules (Wr.). 

17. Within. Capell would read "beneath;" but D. compares Chap- 
man, Odyss. xiv. 279 : " Within your roofe ;" and Wr. quotes B. and F., 
Love's Filgrijnage, iv. i : " Enter my roof" 

23. Use. Are accustomed. We still use the past tense of the verb in 
this sense, but not the present. Cf Temp. ii. I, 175: "they always use 
to laugh at nothing ;" T. N'. ii. 5. 104 : "with which she uses to seal ;" 
A. a7td C. ii. 5. 32 : " we use To say the dead are well," etc. See also 
Milton, Lycidas, 67 : " Were it not better done, as others use," etc. 

26. Practices. Plottings. Cf He7i. V. ii. 2. 90 : " the practices of 
France ;" Id. ii. 2. 144 : "And God acquit them of their practices !" etc. 

27. Place. That is, " place for you " (M. Mason). Cf Fletcher, Mad 
Lover, i. 2 : 

'■'' Memiion. Why were there not such women in the camp then, 
Prepar'd to make me know 'em? 
Eumenes. 'T was no place, sir." 

Or, perhaps, //c?<:^ = dwelling-place, residence ; as Schmidt explains it. 
Cf L. C. 82 : " Love lack'd a dwelling, and made him her place ;" Rich. 
III. iii. I. 69 : " Did Julius Caesar build that place [the Tower], my lord .'"' 
So "Crosby Place" (the quarto reading in Rich. III. i. 2. 213, etc.) = 
Crosby House ; " Eltham Place " (i Hen. VI. iii. i. 156) =Eltham House, 
etc. 

Butchery here=slaughter-house ; elsewhere (as in Rich. III. i. 2. 54, 
100, etc.) = slaughter. 

36. Sttbject. Wr. remarks : " with the accent on the last syllable, as 



ACT II. SCENE III. 



157 



in Temp. \. 2. 114." This is the modern pronunciation of the verb, at 
least in this country ; and it is the only oile in S. See Rich. II. iii. .2. 
176 and A^ John, i. i. 264, which are the only other instances. 

37, Diverted blood. Alienated or perverted relationship. The Coll. 
MS. has " a diverted, proud, and bloody brother," but Coll. does not put 
it in his text. 

39. The thrifty hire I saved. That is, the wages which I was thrifty in 
saving. The adjective is proleptic, as in ii. 7. 132 : "two weak evils." 
Cf. also Macb. i. 3. 84 : " the insane root ;" Id. iii. 4. 76 : " the gentle 
weal," etc. 

42. Thrown. For the ellipsis of the auxiliary, see Gr. 403. " Be lame " 
has been suggested to obviate the irregularity in construction, but no 
change is called for, 

43, 44. Cf. Job xxxviii. 41, Psalms Ixxxiv. 3, cxlvii. 9, Matt. x. 29, and 
Iiihe xii. 6, 24. 

49. In my blood. " These words seem by a kind of zeugma to belong 
both to the verb apply and to the adjectives hot and rebellious'''' (M.). 
Capell wished to read "to my blood." 

50. Nor did not. Cf. ii. 4. 8 below. Gr. 406. Unbashful=^2XVit\&s,'s,. 
Woo the means = setk pleasures that are the cause. 

57. Constant. Faithful. Cf. Hen. V. ii. 2. 5: "Constant loyalty;" 
Cymb. i. 5. 75 : 

**a sly and constant knave, 
Not to be shak'd," etc. 

For service the Coll. MS. substitutes " favour ;" and somebody has sug- 
gested " servants " for service in the next line. No change is necessary. 
Cf the repetition of sweat and having in the context, and many similar 
repetitions elsewhere in S. 

58. Sweat. Past tense; as in M. ofV. iii. 2. 205, Hen. VIII. ii. i. 33, 
etc. It is also used for the participle ; as in T. of A. iii. 2. 28. Cf. Gr. 341. 

60, Promotion. A quadrisyllable. See on i. 2. 247, and cf i. 3. 76. 

61, And havings etc. "Even with \.\\e promotion gained by service is 
service extinguished " (Johnson). 

63. A rotten tree. M. remarks here : " Orlando says melancholy things, 
as in i. 2 ; but his elastic mind rises instantly from such thoughts ; and 
in a few moments he anticipates ' some settled low content.' A fine in- 
stance of the same manly temper is found in Iliad vi., where Hector at 
one moment dwells sorrowfully on his wife's inevitable doom of slavery 
at Argos (447-465), and the next thinks of her as a joyful Trojan mother 
welcoming back her victorious son (476-481)." 

65. In lieu of. In return for ; the only meaning in S. Cf. Z. Z. Z. iii. 
I. 130, M. ofV. iv. I, 410, Hen. V. i, 2, 255, etc, 

66, Come thy ways. See on i. 2, 191 above, 

68. So7ne settled low content. Some place where we may get a humble 
living and settle down contented; a good example of Shakespearian con- 
densation of language. 

71. Seventeen. The folios have "seauentie" or "seventy," which 
Rowe corrected. 

74. Too late a week. Probably a proverbial phrase, like a " day too late 



158 NOTES. 

for the fair." Wr. thinks that a week may be = "i' the week." C£ 
a-night, ii. 4. 44 below. 

Scene IV. — i. Weary. The folios have " merry," which was cor- 
rected by Theo. Whiter and Halliwell retain " merry," on the ground 
that Rosalind is trying to comfort Celia by an assumed cheerfulness. 

4. / could find in ?ny heart. I am almost inclined. Cf. C. of E. iv, 4. 
16 : " I could find in my heart to stay here ;" A. W. ii. 5. 13 : "I cannot 
yet find in my heart to repent," etc. In Much Ado, iii. 5. 24 it is " find 
it in my heart." 

5. The weaker vessel. Cf I Pet. iii. 7. 

6. Doublet and hose. Coat and breeches. According to Fairholt (C^j- 
tume in England, quoted by Wr.) the doublet was so called from " being 
made of double stuff padded between. . . . The doublet was close, and 
fitted tightly to the body ; the skirts reaching a little below the girdle." 
The same writer says of hose, " This word, now applied solely to the 
stocking, was originally used to imply the breeches or chausses." 

9. I had rather. Good old English, like had as lief, etc. See on i. i. 
133 above, or Mer. p. 132. 

For the play on bear and bear with, cf T. G. of V. \. i. 12$ and Pick. III. 
iii. I. 128. 

10. Bear no cross. The old English penny was called a cross from 
bearing the impress of one. For the play upon the word, cf 2 Hen. IV. 
L 2. 253. Halliwell quotes Heywood, Epigrammes : 

" It will make a cross on this gate, yea ciosse no ; 
Thy crosses be on thy gates all, in thy purse no." 

16. Look you. Cf Ham. iii. 2. 132, etc. In W.T. iii. 3. 116 we have 
"look thee " (Gr. 212). Some eds. point " who comes here.?" 

17. Solemn talk. Earnest or serious conversation. Cf 0th. v. 2. 227, etc. 
27. Fantasy. Love ; like fancy (cf iii. 5. 29 and v. 4. 14^), which is 

only a contracted form of the same word. It occurs again in the same 
sense in v. 2. 87 below. 

34. Wearing. The reading of the ist folio ; the later ones have 
" Wearying," which means the same. Cf A. W.v.i. 4 : " To wear your 
gentle limbs in my aff'airs." Whiter quotes Ben Jonson, Masque of the 
Gypsies : " Only time and ears out-wearing." W. prints " wear'ing." 

36. Broke. Cf spoke in i. i. 78. Gr. 343. 

40. Searching of In searching of, or a-searching of See Gr. 178. 

41. By hard adventure. By bad luck, unfortunately. 

44. A-night. By night. Gr. 24. Cf. Chaucer, Legende of Goode 

Women, 1473 : .. . , 

yf that any straunge wyghte 
With tempest thider were yblow anyghte.' 

45. Batlet. The small bat used for beating clothes while washing 
them. The ist folio has "batler," which has the same meaning, and is 
retained by Halliwell, V., and W. 

6'/^^//= chapped. Cf J. C. i. 2. 246 : "their chopt hands," etc. Wr. 
quotes Cotgrave, Fr. Diet. : " Crevasser. To chop, chawne, chap, chinke 
riue, or cleaue asunder." 



ACT II. SCENE IV. 1 59 

46. Peascod. Pea-pod. It was often used in rustic divination of love 
affairs. Mr. Davy, speaking of Suffolk, says : " The kitchen-maid, when 
she shells green pease, never omits, if she finds one having nine pease, 
to lay it on the lintel of the kitchen-door, and the first clown who enters 
it is infallibly to be her husband, or at least her sweetheart." " Winter- 
time for shoeing, peascod time for wooing " is an old Devonshire prov- 
erb. Halliwell quotes Gay : 

"As peascods once I pluck' d, I chanc'd to see 
One that was closely fili'd with three times three; 
Which, when cropp'd, I safely home conv«y'd. 
And o'er the door the spell in secret laid; 
The latch niov'd up, when who should lirst come in 
But, in his proper person, Lubberkin." 

Cf. Browne, Brittania^s Pastorals : 

'*'l"iie peascod greene oft with no little toyle 
Hee'd seeke tor in the fattest fertil'st soile. 
And rend it from the stalke to bring it to her. 
And in her bosome for acceptance wooe her." 

47. Two cods. Johnson suggested " two peas," but cods or peascods 
seems sometimes to have been used for peas. Cf. B. and F., Honest 
Maiis Fortime : " Shall feed on delicates, the first peascods, strawber- 
ries." 

48. Weeping (ears. This ridiculous expression occurs in Lodge's novel, 
and also in the old play of The Victories of King Henry V, Peele's ^ests, 
etc. (Steevens). 

50. Mortal in folly. Mortally foolish. yJ/<?r/(Lz/=very, great, is used in 
various English dialects. Schmidt thinks it may here mean "human, 
resembling man." 

52. Wiser, More wisely. Gr. i. /^^zr^ = aware, but not a contrac- 
tion of that word, as most modern eds. make it. It is uniformly printed 
" ware " in the folio. Cf. Hen. VIII. p. 162, note on Longing. 

53. Till I break, etc. " Till I find to my cost the truth of some of my 
own aphorisms " (M.). 

55. Jove, Jove I The Coll. MS. gives " Love, Love !" 

56. Upon }jiy fashion. After my fashion ; as in i. i. i. Schmidt com- 
pares l^y\j,Et(phues : "he returned them a salute on this manner;" and 
Greene, Pa7idosto : "began to parley with her on this manner." 

59. Vo7zd. Not a contraction oi yonder, as often printed. See Temp. 
p. 121 or J. C. p. 134. 

66. Love or gold. Cf. the proverbial phrase, "for love or money." 

69. Much oppressed. As Abbott remarks (Gr. 403), there is an ellip- 
sis of " who is " here, or of " she " before faints. The latter is the more 
probable. 

70. Paints for succour. That is, for want of succour. Schmidt puts 
this among the cases in which a negative seems to be wanting (see on ii. 
3. 12 above) ; like " dead for breath " [Macb. i. 5. 37), " to sink for food " 
{Cymb. iii. 6. 17), etc. In T G. of V. i. 2. 136, "for catching cold"=for 
fear of catching cold. Cf Gr. 154. 

74. That I graze. Of the sheep that I feed. 

76. Little recks. Little' cares. Cf. T.G.ofV. iv. 3. 40 : " recking as 



i6o NOTES. 

little what betideth me." See also V. and A. 283, etc. Halliwell has 
"wreaks," the folio spelling. 

78. Cote. Cottage (cf. 87 below). So sheepcote in next line and in 
iv. 3. 77. See also W. T. iv. 4. 808, etc. 

Bounds offeed—Xwvixl's, of pasturage, pastures. 

82. In my voice. In my name, so far as I am concerned. Cf. M.for M. 
j. 2. 185 : " Implore her in my voice," etc. 

83. What is he? Who is he? Cf. ii. 7. 79 below. See Gr. 254, and 
on shall, Gr. 315. 

84. But ereivhile. Just now. Cf iii. 5. 104 below. See also Z. L. L> 
iv. I. 99 and M. N. D. iii. 2. 274. 

86. If it stand zvith honesty. If it is consistent with honesty; that is, 
with the understanding you have with Silvius, Cf. Cor. ii. 3. 91, etc. 

90. Waste. Spend. Cf. M. of V. iii. 4. 12, Tejnp. v, i. 302, M. N. D. 
ii. I. 57, etc. See also Milton, Sonit. to Mr. Lawrence, 4 : " Help waste 
a sullen day." 

94. Feeder. Shepherd, the feeder of your flocks. Wr. makes it = 
servant, and compares A. and C. iii. 13. 109 (where Schmidt explains it 
as " parasite "). 

Scene V. — 3. Turn. Pope substituted " tune," but the editors gen- 
erally retain the original readings Sr. quotes Hall, Satires, vi. i : " While 
threadbare Martial turns his merry note ;" but Coll. thinks this is only 
justifying one misprint by another. Pope's emendation is favoured by 
T G. of V. V. 4. 5 : 

' And to the nightingale's complaining notes 
Tune my distresses and record my woes." 

But, as Wr. remarks, " to turn his 77ierry note may mean adapt or modu- 
late his note to the sweet birds' song, following it in its changes." Whiter 
says that " to turn a tune, in the counties of York and Durham, is the 
appropriate and familiar phrase for modulating the voice properly ac- 
cording to the tur.is or air of the tune." 

5. Come hither. Let him come hither. Gr. 364. 

6. Here shall he see, etc. Cf. ii. 1.6 fol. 

12. As a weasel sucks eggs. Cf. Hen. V. i. 2. 170 : 

" For once the eagle England being in prey, 
To her unguarded nest the weasel Scot 
Cones sneaking, and so sucks her princely eggs." 

14. Ragged. Rough. Rovve substituted " rugged," but S. elsewhere 
uses ragged v^\xtx^ we should use 7'ugged. Cf R. of L. 892 : " Thy smooth- 
ing titles to a ragged name ;" Sonn. 6. i : " winter's ragged hand," etc. 
Steevens quotes. Nash, Pierce Pennilesse, 1593 : " his ragged verses." 

16. Stanzo. The folio reading. M. thinks that the word is "spoiled 
on purpose in contempt for foreigners." 

23. The encoiuiter, etc. The grinning of two monkeys at each other. 
Bartholomaeus says of apes : "some be call cenophe ; and be lyke to an 
hounde in the face, and in the body lyke to an ape." Maplett, in his 
Green Forest, or a Natural History, 1567, speaks of five kinds of apes, 
one of which " is not much unlike our dog in figure or shew." The ref- 



ACT II. SCENE V. i6i 

erence here, as in S., is probably to the dog-faced baboon, the Simia 
hamadryas of Linnaeus. 

25. The beggarly thanks. " The professionally benedictive thanks of 
a beggar" (M.). 

28. Cover the while. Spread the table in the meantime. Cf. M. ofV. 
iii. 5. 57, 65, and 2 Hen. IV. ii. 4. 11. For the tvhile, see Temp. iii. i. 24, 
Macb. ii. i. 29, etc. Gr. 137. 

30. To look yoit. To look for you. Cf. A. W. iii. 6. 115 : " I must go 
look my twigs," etc. Gr. 200. 

32. Disputable. Disputatious. For other examples of adjectives in 
-able used actively, see Gr. 3. 

33. I give heaven thanks, etc. A proverbial expression. Cf. Much 
Ado, iii. 3. 19 : " Why, give God thanks, and make no boast of it." 

36. To live z' the sun. That is, "a life of open-air freedom" (Wr.) or 
of " careless idleness " (Schmidt). The 4th folio has " lye " for live. 

44. In despite of ttiy invention. " As imagination would do nothing 
for me, I spited it by the following choice composition" (M.). To this 
note=to the same tune. 

51. Diicdame. A word on which the commentators have wasted much 
ink, without giving a satisfactory answer to the question of Amiens, 
" What 's that ducdame .?" It is probably mere nonsense coined for the 
occasion. Hanmer substituted '■'•due ad w<?" (supposed to be Latin for 
"bring him to me"), which W. thinks should be adopted "from the re- 
lation which the line bears to the corresponding one in the other stanzas." 
" Hicc ad me " has been suggested on the same grounds ; but we need 
not suppose that anything more than a metrical correspondence was in- 
tended. Ducdame, as Halliwell thinks, may be the burden of some old 
song. 

54. To me. Farmer suggested "to Ami," which, as Wr. remarks, " se- 
cures a rhyme at the expense of the metre." 

56. To call fools ijito a circle. M. adds, " for the purpose of etymologic- 
ally and linguistically investigating the meaning o{ ducdame f which is a 
fair hit at the commentators, one of whom (followed by several others) 
seriously argues that the word is "manifestly" the call of the dame, or 
housewife, to her ducks ! " The answer of Jaques," he says, " plainly 
points out that the expression was intended for a certain cry to collect 
together some silly species of animals." 

57. Go sleep. See on i. 1.68. The first-born of Egypt, according to 
Johnson, is " a proverbial expression for high-born persons," but no other 
example of it has been pointed out. Perhaps, as Nares suggests, "Jaques 
is only intended to say that, if he cannot sleep, he will, like other discon- 
••ented people, rail against his betters." 

58. Banqiiet. Probably here = dinner, feast ; 2&\x\ Much Ado,\\. \.\']%. 
It sometimes meant only the dessert ; as in T. of S. v. 2. 9 : 

"My banquet is to close our stomachs up 
After our great good cheer." 

Wr. quotes Massinger, The Unnatural Combat, iii. I : 

"We'll dine in the great room, but let the music 
And banquet be prepared here." 

L 



i62 NOTES. 

Scene VI. — i. For food. That is, for want of it. See on ii. 4. 70 
above. 

2. Here lie I down, etc. Stccvens quotes R. and J. iii. 3. 70 : 
" And fall upon the cround, as I do now, 
Taking the measure of an unmade grave." 

5. Comfort. That is, comfort thyself; or it may be = take comfort, be 
comforted. 

6. Unco2ith. Unknown, strange ; its original sense. CL R.,ofL.i$g?>'. 
" What uncouth ill event Hath thee befallen.?" T. A. ii. 3. 211 : " I am 
surprised with an uncouth fear." S. uses the word only three times. 
Cf. Spenser, F Q. i. i. 15 : "as that uncouth light upon them shone ;" 
/d. iii. ic. 34 : " many an uncouth way," etc. So Milton, F. L. ii. 406 : 

"And through the palpable obscure find out 
His uncouth way." 

7. Thy conceit, etc. "You conceive yourself nearer to death and 
iveaker than you are" (M.). Conceit often — conception, idea, thought, 
etc. Wr. quotes here Ham. iii. 4. 114 : '"Conceit (that is, fancy or imag- 
ination) in weakest bodies strongest works." 

10. Presently. Immediately. Cf. Temp. iv. i. 42, v. i. loi, etc. Gr. 

59- 

12. Well said! "Well spoken and to the purpose" (Schmidt). He 
congratulates himself that his words make Adam "look cheerly." Wr. 
explains it as=i" Well done !" and compares i Hen. IV. v. 4. 75. 

Thou lookest cheerly. That is, cheerily, cheerfully. Cf. T. of A. ii. 2. 
323 : " Prithee, man, look cheerly !" etc. See also ii. 7. 11 below. 

Scene VII. — i. I think he be. For the subjunctive, see Gr. 299. 
T^. But even now. But just now. Cf. 7>////. v. I. 232, etc. Gr. 38. 
^. Hearing of See on" ii. 4. 40. Gr. 178. 

5. Compact of jars. All made up of discords. Cf. M. N. D. v. i. 8 : 
"of imagination all compact," etc. Steevens quotes Tamburlane, 1590: 
" Compact of rapine, piracy, and spoil." 

6. The spheres. An allusion to the Pythagorean doctrine of the music 
of the spheres. Cf T. N. iii. i. 121, M. of V. v. i. 60, A. and C. v. 2. 84, 
etc. See also Milton, i^/;7/;/ ^w yWj'/wz/i', 125-132, etc. 

13. Motley. The parti-coloured dress of the professional fool. The 
word is used as a noun ( = foo] ) in Sonn. 1 10. 2, and in iii. 3. 69 below. 

A miserable world! "Where this is one's best amusement" (M). 
Warb. suggested " varlet " for world. 

16. RaiVd oil. S. uses on or upon after rail oftener than at. Agains;' 
is sometimes the preposition ; as in ii. 5. 57 and iii. 2. 262 of the present 
play. 

Lady Fortune. Cf. W. T iv. 4. 51 : " O Lady Fortune !" Temp. \. 2. 
178: "bountiful Fortune, Now my dear lady," etc. See also on i. 2. 
27. 

19. Call me not fool, etc. An allusion to the old proverb. Fortuna favet 
fatuis (Upton). Halliwell quotes Ray, Eng. Proverbs : " Fortune favours 
fools, or fools have the best luck." Cf. B. J., Alchemist, prol. : "For- 
tune, that favours fooles," etc. 



ACT IT. SCENE VII. 1 63 

20. A dial. This in the time of S. might mean either a watch or a 
portable sun-dial, and it is doubtful which is intended here. Cf. A. W, 
ii. 5. 6 : " my dial goes not true," etc. 

Poke — \>o\ic\\, pocket. We still use the word in the proverb, "to buy 
a pig in a poke." Pocket is a diminutive of it. 

26. Ripe. Ripen ; as in M. of V. ii. 8. 40 : " the very riping of the time." 
Schmidt and Wr. make it a verb in M. JSf. D. ii. 2. 118 (" till now ripe not 
to reason "), where it seems to us very plainly an adjective. It is used 
transitively in K. John, ii. i. 472 : " no sun to ripe the bloom ;" and in 
2 Hen. IV. iv. I. 13 : "to ripe his growing fortunes." 

29. Moral. Moralize. Schmidt considers it " probably an adjective ;" 
as it is (=moralizing) in lear, iv. 2. 58 : "a moral fool." 

30. Crow. Cf T. G. ofV. ii. I. ,^8 : " You were wont, when you laughed, 
to crow like a cock." See also T. N. i. 5. 95. 

31. Deep-contemplative. For compound adjectives in S. see Gr. 2. 

32. Sans. Cf. 166 below. See also Temp. i. 2. 97, L. L. L. v. i. '91, 
etc. It was much used by the writers of the time, and appears to have 
been viewed as an English word. Cotgrave {Fr. Diet.) translates sans 
by " sanse, without, besides ;" and Florio {Ital. Diet?) gives " sanse " as 
an English equivalent for senza. Intermission is here five syllables. 

34. The only wear. The only thing to wear, the only dress in fashion. 
Cf, W. T. iv. 4. 327 : " Of the new'st and finest, finest wear-a ;" M.for M. 
iii. 2. 78: "it is not the wear," etc. Steevens quotes T>ox\Xit, Satire iv. 
86 : " Your only wearing is your grogaram." 

39. Dry, etc. Boswell quotes B. J., Evety Man Out of his Humour 

ind. : 

"And now and then breaks a dry biscuit jest, 
Which, that it may more easily be chew'd, 
He steeps in his own laughter." 

40. Strange places. Odd corners. Wr. explains places as " topics or 
subjects of discourse," but this does not suit so well with cramm d. 

44. Suit. For the play on the word cf. iv. i. 78 below. See also 
I Hen. IV. i. 2. 81. 

48. As the wind. That " bloweth where it listeth " {John, iii. 8). Cf. 
T. and C. i. 3. 253 : " Speak frankly as the wind ;" Cor. i. 9. 89 : " as free 
as is the wind ;" and Hen. V. i. i. 48 : " T' e air, a charter'd libertine." 

52, As plain as way, etc. " When the spire is in full view " (M.). 

53-57. He that, etc. In the folio the passage reads thus : 

" Hee, that a Foole doth very wisely hit, 
Doth very foolishly, although he smart 
Seeme senselesse of the bob. If not, 
The Wise-mans folly is anathomiz'd 
Euen by the squandring glances of the foole." 

Theo. made 55 read "Not to seem," etc. ; and Coll., following the Coll. 
MS., " But to seem," etc. The meaning is essentially the same, but the 
latter seems the more Shakespearian expression. The sense then is : 
He whom a fool happens to hit well is very foolish unless he appeal's 
not to feel the rap ; otherwise his folly is laid bare even by the random 
sallies of the fool. 



164 



NOTES. 



Whiter would retain the folio reading, pointing it thus : 
" Doth, very foolishly although he smart, 
Seem senseless of the bob;" 
that is, a wise man, " though he should be weak enough really to be hurt 
by so foolish an attack, appears always insensible of the stroke." But 
the inversion in " very foolishly although he smart " is awkward ; and, 
besides, the imperfect measure indicates that something has been lost 
from the text. 

For another defence of the original reading, see Dr. Ingleby's Stih 
Lion, p. 79 (or his Shakespeare Hermeneutics, p. 81) ; and for a good re- 
ply to the same, see the C. P. ed. oiA.Y.L. p. 116. Dr. I. admits that 
something seems to have dropped out of the text, and suggests that it 
may have read originally " \i he do not," etc. 

For j^«j-^/^j-j- = insensible, cf Cymb. i. 1.-135 : "I am senseless of your 
wrath," etc. Boh — x2i^, hit, is not found elsewhere in S., but we have the 
verb (=beat, drub) in Rich. III. v. 3, 334 and T. and C. ii. I. 76. For 
anatomize = \2iy open, disclose, cf i. i. 141 above. Squander is used by S. 
only here and in M. ofV. i. 3. 22 : "other ventures he hath, squandered 
abroad;" that is, scattered abroad. - In 0th. iii. 3. 151 ("his scattering 
and unsure observance ") scatteri^ig is used much like squandering here. 

63. For a counter. " I bet a penny on it " (M,). A counter was " a 
round piece of metal used in calculations" (Schmidt). It is used con- 
temptuously for coins in J. C. iv. 3. 80 : " such rascal counters." 

66. The brutish sting. Animal passion. Cf M.for M. i. 4. 59 : "The 
wanton stings and motions of the sense ; and 0th. i. 3. 335 : " our carnal 
stings, our unbitted lusts." 

67. Embossed. Tumid ; as in Lear, ii. 4. 227 : " an embossed car- 
buncle." Headed -gxoyNxv to a head. In the only other instance of the 
verb in S. [M.for'M. ii. i. 250: "it is but heading and hanging") it 
means to behead. 

70. Why, who cries out, etc. " Chide as I will, why should I offend 
them } Who can say that I mean him ? Jaques appears either wilfully 
or through shallowness to miss the deep wisdom of the Duke's saying, 
and the whole character of his admonition. The Duke had not said 
that Jaques would offend people, but that he would corrupt them " (M.). 

71. 7Tzx. Censure. See on i. 2. 75, and cf 86 below. /'rzV*^/^^" par- 
ticular, opposed to general " (Schmidt) ; as in Sojzjz. 9. 7 : " every pri- 
vate widow." 

73. The wearer's very means. The folio has " wearie verie meanes," 
which Ilalli^vell and V. retain. Pope changed it to " very very." The 
Coll. MLi. has "the very means of wear." The emendation in the text 
is due to Sr., and is adopted by K., D., W., and Wr. Cf Hen. VIII. i. i. 
8^ . 
^ ' " O, many 

Have broke their backs with laying manors on 'em 
For this great journey." 

75. When that. See on i. 3. 41. Gr. 287. 

76. The cost of princes, etc. Wr. quotes 2 Hen. VI. \. 3. 83 : " Sh^* 
bears a duke s revenues on her back." 



ACT II. SCENE VII. 165 

77. Come in. "Intervene " (Schmidt) ; as in M.for M. ii. i. 31. 

79. Of basest function. " Holding the meanest office" (Wr.). 

80. Bravery. Finery. Cf. T. of S. iv. 3. 57 : "With scarfs and fans 
and double change of' bravery." See also Spenser, Mother Hubberds 
Tale, 857 : " Which oft maintain'd his master's braverie " (that is, dressed 
as well as his master). Cf. also brave^^wQ, beautiful ; as in Temp. i. 2. 
6,411, iii. 2. 104, III, 113, V. 183, 261, etc. 

On my cost. At my expense. Both the Camb. ed. and Wr. misprint 
" of my cost." Cf. Hen. V. iv. 3. 25 : " doth feed upon my cost." 

82. Mettle. Substance, purport. The early eds. make no distinction 
between metal and mettle. See Rich. II. p. 157. 

83. How then ? what then ? " Let us understand one another thor- 
oughly " (M.). 

84. Bo him right. Give him his due, do him justice ; as in M.for M. 
ii. 2. 103, Rich. II. ii. 3. 138, and many other passages. 

85. Free. Innocent ; as in W. T. i. 2. 251, Hain. ii. 2. 590, 0th. ii. 3. 
343 » etc. 

88. Eat. S. uses both eat and eaten for the participle, and the former 
regularly (so far as the early eds. show) for the past tense. See Gr. 343 
and Rich. II. p. 204. 

90. Of zvhat kind, etc. Of what race, etc. On the double preposition, 
cf. 139 below. See also A. W. i. 2. 29, T. and C. v. i. 63, Cor. ii. i. 18, etc. 
Gr. 407. 

91. Baldened, Not a contraction oi emboldened, as sometimes printed. 
Cf. Hen. VIII. i. 2. 55. Bold is used as a verb in the same sense in Lear^ 
V. I. 26. 

^i^ Vein. Disposition, temper, ^/yfrj'/ refers of course to 91. 

96. Inland bred. Brought up in the interior of the country, as op- 
posed to the less populous and less cultivated frontiers ; or " perhaps 
opposed to mountainous districts as the seats of savage barbarousness " 
(Schmidt). Cf. 2 Hen. IV, iv. 3. 119 : " inland petty spirits ;" that is, as 
Schmidt explains it, "given till then to the arts of peace." See also iii. 
2. 323 below. 

97. Nurture. Culture, good-breeding. Cf. Temp. iv. i. 189. So ill 
ntirtzf red =i\l-hved in V. and A. 134 and 2 Hen. VI. i. 2. 42. 

99. Answered. Satisfied ; as in y. C. v. I. I, etc. 

100. Reason. St. would read " reasons," on the ground that there may 
be a poor pun on raisins. 

102. Your gentleness, etc. M. remarks : " This reciprocal inversion of 
subject and predicate was called by the Greeks xioc/xof [from the letter %] ; 
the two subjects being at the left-hand points of the %, and the two predi- 
cates at the right-hand points, and each subject linking itself with its 
predicate along the oblique lines (r) Kara didnerpov av^tv^ig, as Aristotle 
calls it)." 

104. For food. See on ii, 4. 70 above. For and—z.wdi so, and there- 
fore, Wr. compares Temp. i. 2. 186. See also Gr. 100. 

109. Commandment. Command. Wr. quotes Bacon, Adv. of L. i. 8. 
3: "We see the dignity of the commandment is according to the dig- 
nity of the commanded : to have commandment over beasts, as herdmeii 



l66 NOTES. 

have, is a thing contemptible : to have commandment over children, as 
schoolmasters have, is a matter of small honour : to have command- 
ment over galley-slaves is a disparagement rather than an honour." 
no. Inaccessible. Hard of access, "almost inaccessible" {Temp. ii. 

1.37)- 

114. KnoWd. Cf. Macb. v. 8. 50 and 2 Hen. IV. i. i. 103. Cotgrave 
{Fr. Diet.) translates carillojter by " To chyme, or knowle, bells" (Wr.). 
Halliwell cites Twyne's Discourse concerning Earthquakes, 1580: "the 
very shakinge caused the belles in some steeples to knoll a stroake or 
twaine." 

118. Enforcement. Cf. A.W. v. 3. 107 : "by what rough enforcement 
You got it," etc. 

120. T'ue is it, etc. " A fine instance of epanadiplosis, each clause of 
Orlando's adjuration being repeated by the Duke with exquisite varia- 
tion" (M.). 

125. Upon command. At your will or pleasure. 

128. Whiles. Cf. V. 4. 5, 132 below ; also M. N. D. iii. 2. 374, etc. Gr. 
137. On like a doe, cf. V. and A. 875. 

131. Sufficed. Satisfied. Cf. K.John, i. i. 191 : "when my knightly 
stomach is suffic'd," etc. 

132. Weak evils. That is, causing weakness. See on ii. 3. 39 above. 
Gr. 4. Schmidt (p. 1416) makes it = evils of weakness ; as " old wrinkles " 
(J/, of V. i. I. 80) = wrinkles of age, etc. 

139. Wherein we play in. See on 90 above. 

All the world 'j a stage. " Totus mundus agit histrionem" (probably 
taken from a fragment of Petronius, where it reads " quod fere totus mun- 
dus exerceat histrionem ") was the motto over the entrance to the Globe 
Theatre. The comparison is very common in writers of the time. Cf. 
Damon and Pythias, 1582 : 

"Pythagoras said, that this world was like a stage, 
Whereon many play their parts;" 

Churchyard, Farewell, 1593: "A borrowde roume where we our pag- 
eants play ;" Of love'' s Complaints, 1597 : 

"Whose Hfe a sad continual tragedie, 
Himself the actor, in the world, the stage, 
While as the acts are measur'd by his age." 

Sidney, Arcadia: "She found the world but a wearisome stage to her, 
where she played a part against her will," etc. Halliwell gives many 
similar passages. 

143. Seven ages. The division of man's life into seven, ten, or more 
periods or " ages " was likewise common, and dates back to very ancient 
times. Wr. remarks : " A good deal of the literature of this subject has 
been collected by Mr. Winter Jones, in an interesting paper which he 
published in the Archceologica (xxxv. 167-189) on a block print of the 
15th century which is in the British Museum. The so-called verses of 
Solon, quoted by Philo, De opificio mundi, are there given, as well as the 
passage in which Plato attributes to Hippocrates the division of man's 
life into seven periods. In the Mishna {Aaoth, v. 24) fourteen periods 
are given, and a poem upon the ten stages of life was written by the great 



ACT II. SCENE VII. 1 67 

•Hebrew commentator Ibn Ezra. The MidrasJi on Ecdestastes, \.2 goes 
back to the seven divisions. The Jewish literature is very fully given by 
Low in his treatise Die Lebensalter in der Jiidischen Liveratiir. Sir 
Thomas Browne devotes a chapter of his Vulgar Errors (iv. 12) to a con> 
sideration of the various divisions which have been proposed." See 
also Hallivvell's folio ed, vol. vi. pp. 153 fol. 

As W. remarks (see his Tale of the Forest of Arden, in the Galaxy for 
April, 1875), all these stages of life are here described "in scoffing and 
disparaging terms ;" in fact, Jaques " seized the occasion to sneer at the 
representatives of the whole human race," See on ii. 1.41 above. 

144. Mewling. Squalling. Wr. quotes Cotgrave, /^r, iy/V^*.; " Miauler 
To mewle, or mew, like a cat." 

145. Then. Pope, followed by some modern eds., has "And then," 
which may be what S. wrote. If not, T/ieti is a dissyllable. Cf. Gr. 
486. 

146. Like sjiail. Halliwell quotes Browne : 

*'Or with their hats (for fish) lade in a brooke 
Withouten paine: but when the niorne doth looke 
Out of the easterne gates, a snayle would faster 
Glide to the schooles, then they unto their master." 

148. Sighing like furnace. Malone quotes Cymb. i. 6. 66: "He fur^ 
naces The thick sighs from him." Wr. adds L.L.L. iv. 3. 140; "Saw 
sighs reek from you." 

150. Full of strange oaths. Sir James Douglas, one day hearing the 
exclamation " The devil !" pronounced with great emphasis in a cottage, 
immediately concluded " that some gallant knights or good men-at-arms 
were lurking there " {Fid. Hist, of Eng. ii. 264, quoted by M.). Soldiers 
have always " sworn terribly," and not " in Flanders " alone. Cf. IIe7i. V. 
iii. 6. 78. 

Bearded like the pai'd—"'w\\.\-i long pointed mustaches, bristling like 
panther's or leopard's feelers " (Wr.). 

151. Sudden. Impetuous, passionate. Cf. Macb. iv. 3. 59 ; "Sudden, 
malicious ;" 0th. ii. i. 279 : "rash and very sudden in choler," etc. 

155. Beard of formal cut. Cf Hen. V. iii. 6. 80 : "a beard of the gen 
eral's cut ;" and see note in our ed. p. 168. ^ 

156. Wise saws, etc. Wise maxims and trite illustrations. For modern 
= commonplace, trivial, cf Macb. iv. 3. 170 : " a modern ecstasy ;" A. IV. 
ii. 3. 2 : "modern and familiar," etc. See also iv. i. 6 below. Schmidt 
recognizes no other meaning of the word in S. Instances he makes here 
=saws ; as in Mzcch Ado, v. 2. 78 : "an old instance," etc. 

158. Pantaloon. As Wr. remarks, the word and character were bor- 
rowed from the Italian stage. Todd, in his edition of Johnson's Diction- 
ary, quotes from Addison's Remarks on Several Pa'>'ts of Italy an account 
of the plays in Venice : " There are four standing cnaracters which enter 
into every piece that comes on the stage : the Doctor, Harleqiciii, Patita- 
lone, and Coviello . . . Pantalone is generally an old Cully, and Coviello a 
Sharper." Torriano [Italian Diet., 1659) gives "Pantalone, a Pantalone, 
a covetous and yet amorous old dotard, properly applyed in Comedies 
unto a Venetian." Capell quotes from The Travels of three English 



i68 NOTES. 

Brothers^ 1607, a dialogue between an Italian Harlequin and Kemp the 
actor : 

*'Harl. Marry sir, first we will have an old Pantaloune. 
Kemp. Some iealous Coxconibe. 
Harl. Right, and that part will I play." 

Steevens gives a stage direction from The Plotte of the Deade Mani 
Fortune, "Enter the panteloun and pescode with spectakles." 

Halliwell suggests that the term here may be applied more generally. 
Howell (1660) xvizk.t's, pantaloon — z. "Venetian magnifico." In Calot's 
plates illustrating the Italian comedy is one in which the ancient panta- 
loon is represented as wearing slippers. 

160. Hose. See on ii. 4. 6 above. A tvorld was then as now a com- 
mon hyperbole. Cf. 0th. \. 3. 159 : " a world of sighs ;" M. N. D. ii. i. 
223 : "worlds of company ;" Hen. VIII. iii. 2. 2ii : "all that world of 
wealth," etc. 

163. His. Its. See Temp. p. 120, or Gr.-228. 

166. Sans. See on 32 above. 

167. Venerable burden. Steevens suggests that S. may have had in 
mind Ovid, Met. xiii. 125 : 

" patremque 
Fert humeris, venerabile onus, Cythereius heros." 

171. Fall to. Used by S. in other connections than of eating. Cf. 
2 Hen. IV. V. 5. 51 : " fall to thy prayers ;" J. C. v. 3. 7 : " his soldiers fell 
to spoil," etc. See also v. 4. 174 below. 

175. Unkind. Explained by Malone as = unnatural (cf. Leary iii. 4. 73, 
I Hen. VI. iv. I. 193, etc.), but it may have its ordinary sense. 

178. Because thou art not aeen. That is, " thy rudeness gives the less 
pain, as thou art an enemy that dost notbrave us with thy presence, and 
whose unkindness is therefore not aggravated by insult" (Johnson). 
Warb. wanted to read "not sheen," that is, "smiling, shining, like an 
ungrateful court-servant, who flatters while he wounds !" St. conjectures 
"art foreseen." Capell quotes Lea7\ iii. 2. 16-18: "I tax not you, you 
elements, with unkindness," etc. 

180. The holly. " Songs of the holly were current long before the 
time of S. It was the emblem of mirth" (Halliwell). 

187. The waters warp. Either referring to the curving of the surface 
in freezing, or in a more general sense to the change undergone. Warp 
is elsewhere — change, distort, etc. Cf W. T. \. 2. 365, A. W. v. 3. 49, 
Lear, iii. 6. 56, etc. Nares (followed by V., H,, and others) explains the 
passage: "though thou weave the waters into a firm texture." Wr. 
points out that the A. S. saying ("Winter sceal geweorpan weder") 
quoted by Holt White as = " winter shall warp water," and repeated by 
many other editors, is mistranslated, " weder " meaning weather (that is, 
fair weather), not water. 

189. As friend remember'' d not. "As what an unremembered friend 
feels" (M.). Hanmer changed it to "remembering." Schmidt explains 
remember d as "having memory." Cf. "to be remembered " = to recol- 
lect ; as in iii. 5. 130 below. 

i^i. Were. D. conjectures "are," and also in the ne^ct Un§. 



ACT III. SCENES I. AND II. 169 

193. Effigies. Effigy, likeness. For the accent, see Gr. 490. 

194. Limit' d. Painted, Used by S. only here and in V. and A. 290, 
Dislimn (= efface) occurs in A. and C. iv. 14. 10. 

198. Thou. On the pronouns in this line and the next, see Gr. 233. 



ACT III. 

Scene L — 2. The better part. For the greater part.- Cf. I. 3. 114, or 
Gr. 202. 

3. Argument. See on i. 2. 262 above. 

4. Thou present. You being present. Gr. 380. 

6. Seek him with candle. As Steevens remarks, alluding probably to 
Luke, XV. 8. 

7. Turn. Return; as in Rich. III. iv. 4. 184: "Ere from this war 
thou turn a conqueror," etc. 

II. Quit thee. Clear 01 acquit thyself. Cf. Hen. V. ii. 2. 166: "God 
quit you in his mercy !" 

16. Of such a nature. That is, whose duty it is. 

17. Make an extent^ etc. Puf- in an extendi facias, etc. Lord Camp- 
bell, in Shakespeitre'' s Legal Acquirements, quotes this passage as illus- 
trating the poet's "deep technical knowledge of law," the writ oi extendi 
facias applying to houses and lands, as that oi fieri facias to goods and 
chattels, and that of capias ad satisfaciendum to the person. Wr. cites 
Stephen's Commentaries on the Laws of England, iv. 80 : " Upon all 
debts of record due to the Crown, the sovereign hits his peculiar remedy 
by writ o{ extent ; which differs in this respect from an ordinary writ of 
execution at suit of the subject, that under it the body, lands, and goods 
of the debtor may be all taken at once, in order to compel the payment 
of the debt. And this proceeding is called an extent, from the words of 
the writ ; which directs the sheriff to cause the lands, goods, and chattels 
to be appraised at their full, or extended, value {extendi facias), before 
they are delivered to satisfy the debt." 

18. Expediently. Expeditiously, quickly. So expedient = expeditious ; 
as in IT. John, ii. I. 60 and Rich. II. i. 4. 39. 

Turn him going— send him packing ; as in J. C. iii. 3. 38. 

Scene II. — 2. Thrice-crorvned. Cf M. N. D. v. i. 391 : " By the triple 
Hecate's team ;" Virgil, ^n. iv. 511 : "Tergeminamque Hecaten, tria 
virginis ora Dianae ;" and fTorace, Od. iii. 22. 4 : " Diva triformis :" 
Johnson quotes the memorial lines : 

"Terret, lustrat, agit, Proseipina, Luna, Diana, 
Ima, superna, feras, sceptro, fulgore, sagittis." 

Sr. quotes from Chapman's Hymnus hi Cynthiam a passage which may 
have been in Shakespeare's mind : 

"Nature's bright eye-sight, and the night's fair soul, 
That with thy triple forehead dost central 
Earth, seas, and hell." 



170 



NOTES. 



4. My full life doth sway. Cf. 7! -A^ ii. 5. 1 18 : " doth sway my Iife.»» 

6. Character. Write, inscribe. Cf. Sonji. 108. i, R. of L. 807, T. G, 
of V, ii. 7. 4, etc. S. accents the verb either on the first or second sylla- 
ble ; the noun on the first, except in Rich. III. iii. i. 81. 

7. That. So that. Gr. 283. 

10. [Inexpressive. Inexpressible. Ci.M\\\.or\, Lycidas,i']6: " the un- 
expressive nuptial song;" Hymn on Nativ. 116: "With unexpressive 
notes." Cf. also insiippressive — woX. to be suppressed {J. C. ii. i. 134), 
uncomprehensive = wwV.wo\^\\ [T. and C. iii. 3. 198), //«z/j'/z/^ = plausible, 
specious {A. W. \. 2. 53), r^jr/^r//z'^ — respectable {T.G. of V. iv. 4. 200), 
etc. See Gr. 3. 

For j/z£' = woman, cf. T. N. i. 5. 259 : "the cruellest she alive ;" Hen. V. 
ii. I. 83: "the only she;" Cytnb. i. 6. 40: "two such shes," etc. See 
also he in 366 below. Gr. 224. 

15. Naught. Bad. See on i. i. 32 above. 

16. Private, Lonely, solitary. Cf. Hen. VIII. ii. 2. 15 : "I left him 
private," etc. 

20. Hast. Cf. 30 below : " Wast ever in court ?" Gr. 401. 

28. Of good breedijtg. See on ii. 3. 12 above. 

35. All on one side. It would seem obvious enough that these words 
are explanatory of ill-roasted, but Steevens connected them with danified. 

39. Good manners. " A play upon words, manners being used for 
morals as well as for habits or deportment" (Halliwell). V. remarks 
that morals is not found in the old dictionaries and authors. 

41. Farlotts. A vulgar corruption oi perilous. Cf. M. N. D. iii. i. 14: 
" a parlous fear," etc. Gr. 461. 

46. But you kiss. Without kissing. Gr. 125. 

48. Instance. Proof. Cf Much Ado, ii. 2. 42 : " They will scarcely be- 
lieve this without trial : offer them instances," etc. 

49. Still. Continually. Gr. 69. 

50. Fells. Fleeces. Cf. Macb. v. 5. ii : " my fell of hair ;" Lear, v. 3. 
24 : " flesh and fell," etc. 

52. A mutton. A sheep. Cf. T. G. ofV. \. i. loi : " a lost mutton ;" 
M. of V. i. 3. 168 : " flesh of muttons, beefs, or goats," etc. 

56. More S02inder. Cf. " more worthier " (iii. 3. 53 below), " more 
elder" {M. ofV. iv. i. 251), "more better" [Temp. i. 2. 19), etc. Gr. 11. 

60. Worms'' -7neat. Wr. suggests that this expression may have struck 
S. in a book which he evidently read, the treatise of Vincentio Saviolo 
(see on v. 4. 86), in which a printer's device is found with the motto," O 
wormes meate : O froath : O vanitie : why art thou so insolent." 

62. Perpend. Ponder, consider; "a word used only by Pistol, Polo- 
nius, and the clowns" (Schmidt). Cf. M. W. ii. i. 119, Hatn. ii. 2. 105, 
etc. 

66. God make incision in thee! Schmidt explains this, "God cure 
thee!" Heath says: "I apprehend the meaning is, 'God. give thee a 
better understanding, thou art very raw and simple as yet.' The ex- 
pression probably alludes to the common proverbial saying concerning 
a very silly fellow, that he ought to be cut for the simples." The refer- 
ence is to bleeding as a method of cure- Cf. L. L. Z. iv. 3. 97. 



ACT III. SCENE II. 



171 



On raw=gret\\ inexperienced, cf. M. of V. iii. 4. 77, Rich. II. ii. 3. 42, 
etc. 

68. Owe 110 man hate. Halliwell quotes Romans^ xiii. 8 : " Owe no 
man anything, but to love one another." 

69. Contejit zvith ?ny harm. " Patient in tribulation." 

75. Scape. Not a contraction oi escape. Cf. Bacon, Adv. of L. ii. 14, 
9: "had scaped shipwreck," etc. See Wb. s. v. 

78. East. Eastern. Ind is printed " Inde " in the folio, and the vowel 
is doubtless meant to be long ; as in L. L. L. iv. 3. 222, where the word 
rhymes with blind. 

82. Liti'd. Delineated, drawn. Capell changed it to " limn'd." 

85. Fair. Beauty; as often. Cf! Soim. 16. 11 : "Neither in inward 
worth nor outward fair," etc. Pope substituted " face " here ; and 
Walker would change face in 84 to " fair." The latter is the more plausi- 
ble emendation. Steevens quotes from Lodge's novel : 

"Then muse not, nymphes, though I bemone 
The absence of fair Rosalynde, 
Since for her fair there is fairer none," etc. 

86. Rhytne yoti. Cf. Hen. V. iii. 6. 74: "they will learn you by rote 
where services were done ;" T. and C. i. 2. 188 ; " he will weep you, an 
't were a man born in April," etc. 

88. Biitter-zvomen''s rajzk. That is, their jog-trot one after another. 
Hanmer suggested "rate," and Grey "rant." Wr. thinks "rack" may 
be the right word ; but S. does, not use it elsewhere in the sense of a 
horse's pace. Cotgrave {Fr. Diet.) defines a?nble as "an amble, pace, 
racke ; . . . a smooth, or easie gate." 

For right =\x\x.^, downright, see Gr. 19 ; and cf. no and 258 below. 

93. If the cat, etc. A common proverbial phrase. Halliwell quotes 
the Enterltide of Jacob and Esati, 1568; "Cat after kinde, saith the 
proverbe, swete milke wil lap;" Florio's Second Fi'iites, 1591 : "cat 
after kinde will either hunt or scratch," etc. 

95. Winter. The reading of 3d and 4th folios ; the ist and 2d have 
"Wintred." 

103. False gallop. "Forced gait" (i Hen. IV. iii. i. 135). S. yx^t^ gal- 
lop only in this expression, which occurs again in Much Ado, iii. 4. 94. 
Malone quotes Nash's Pierce Pennilesse, 1593 : " I would trot a false gal- 
lop through the rest of his ragged verses, but that if I should retort the 
rime doggrell aright, I must make my verses (as he doth his) run hob- 
bling, like a brewer's cart upon the stones, and observe no measure in 
their feet." 

107. Graff. Graft. Cf. 2 Hen. IV. v. 3. 3 : " of my own graffing," etc. 
See also misgraffed in M. N. D. i. I. 137. Graft occurs in Cor. ii. i. 206 : 
*' grafted to your relish," etc. 

108. A medlar. The fruit of the Mespilits Geri?ianica, a tree still com- 
mon in England. It was not considered fit to eat until it was over-ripej 
or "rotten." Cf. Chaucer, C. T. 3870 : 

"That ilke fruyt is ever lenger the wers 
Til it be rote in mullok or in stree," etc. 

There is here a play on 7nedlar and meddler, as in T. of A. iv. 3. 307 fol 



172 



NOTES. 



The earliest fridt. Steevens thought that S. had "little knowledge in 
gardening," as the medlar is a very late fruit; but Rosalind says "for 
you '11 be rotten ere you be half ripe." 

115. A desert. Rowe supplied «, which is not in the folios. Tyrwhitt 
conjectured " Why should this desert silent be?" Halliwell retains the 
folio reading, making Why a dissyllable (Gr. 481). 

116. For. Because. See M-er. p. 134 or M. N. D. p. 177. Gr. 151. 
118. Civil sayings. "Maxims of social life" (Johnson), or "wise say-- 

ings " (M.). For «W/- civilized, see 2 Hen. VI. iv. 7. 66 ; 

" Kent, in the Commentaries Caesar writ, 
Is term'd the civil' st place of all this isle;" 
Cymb. iii. 6. 23 : 

" Ho! who 's here? 
If anything that 's civil, speak ; if savage, 
Take or lend," etc.- 

120. Erring. Errant, wandering. Cf C^/y^. i. 3. 362 : " an erring bar- 
barian" ( = " extravagant and wheeling stranger" in/<3'. i. i. 137); Ham. 
i. I. 154 : "The -extravagant and erring spirit," etc. 

122. Btcekles in. Girds in, includes. Cf. Macb. v. 2. 15 and T. and C 
ii. 2. 30, 

126. Sentence end. The possessive inflection was often omitted in dis- 
syllables ending with a sibilant (Gr. 217), and sometimes before sake^ as 
in 240 below. 

129. Quintessence. The fifth or highest essence of the alchemists ; and 
hence, figuratively, the concentrated virtue of anything. S. uses the word 
only here and in Ham. ii. 2. 321. 

130. In little. In miniature. Cf. L. C. 90 : "in little drawn," etc. 
133. Wide - enlarg' d. "Spread through the world" (Schmidt). Cf. 

Te7np. iii. i. 46 : 

"but you, O you. 
So perfect and so peerless, are created 
Of every creature's best!" 

135. Helen'' s cheek. Cf Sonn. 53. 7 : "On Helen's cheek all art of 
beauty set." 

137. Atalantds better part. What this means has been much disputed. 
Johnson remarks that the better part of the mythological Atalanta 
"seems to have been her heels," and thinks that S. had some other 
character in mind. Toilet suggests that it was " her beauty and graceful 
elegance of shape ;" Farmer, " her wit, that is, the swiftness of her 
mind;" Steevens, "the best part about her, such as was most com- 
mended." 

Whiter remarks on the passage : "The imagery selected to discrim- 
inate the perfections of Helen, Cleopatra, Atalanta, and Lucretia was 
not derived from the abstract consideration of their general qualities ; 
but was caught from those peculiar traits of beauty and character which 
are impressed on the mind of him who contemplates their portraits. It 
is well known that these celebrated heroines of romance were, in the days 
of our Poet, the favourite subjects of popular representation, and were 
alike visible in the coarse hangings of the poor and the magnificent arras 
of the rich. In the portraits of Helen, whether they were produced by the 



ACT III. SCENE 11. 1^2 

skilful artist or his ruder imitator, though her face would certainly be de- 
lineated as eminently beautiful, yet she appears not to have been adorned 
with any of those charms which are allied to modesty ; and we accord- 
ingly find that she was generally depicted with a loose and insidious 
countenance, which but too manifestly betrayed the inward wantonness 
and perfidy of her heart. With respect to the ' majesty ' of Cleopatra, it 
may be observed that this notion is not derived from classical authority, 
but from the more popular storehouse of legend and romance. I infer, 
therefore, that the familiarity of the image was impressed, both on the 
Poet and his reader, from pictures or representations in tapestry, which 
were the lively and faithful mirrors of popular romances. Atalanta, we 
know, was considered by our ancient poets as a celebrated beauty ; and 
we may be assured, therefore, that her portraits were everywhere to be 
found. Since the story of Atalanta represents that heroine as possessed 
of singular beauty, zealous to preserve her virginity even with the death 
of her lovers, and accomplishing her purposes by extraordinary swiftness 
in running, we may be assured that the skill of the artist would be em- 
ployed in displaying the most perfect expressions of virgin purity, and in 
delineating the fine proportions and elegant symmetry of her person. 
Lucretia (we know) was the grand example of conjugal fidelity through- 
out the Gothic ages ; and it is this spirit of unshaken chastity which is 
here celebrated under the title of 'modesty.' 

" Such, then, are the wishes of the lover in the formation of his mis- 
tress — that the ripe and brilliant beauties of Helen should be united to 
the elegant symmetry and virgin graces of Atalanta ; and that this union 
of charms should be still dignified and ennobled by the 7najestic mien of 
Cleopatra, and the matron modesty of Lucretia." 

140. Heavenly synod. S. has synod in six passages, and in all but one 
it refers to an assembly of the gods. See Cor. v. 2. 74, Ham. ii. 2. 516, 
A. and C. iii. 10. 5, and Cymh. v. 4. 89. 

142. Touches. Traits, featmes. Cf v. 4. 27 below. 

144. And I to live. See Gr, 216 and 416, and cf v. 4. 22 below. 

145. Jicpiter. The folio reading. Spedding suggested " pulpiter," 
which is plausible. D. and the Camb. ed. adopt it. But S. does not 
use the word elsewhere, x\ox pulpit ( = rostra) except in J. C. Cf Rosa- 
lind's "O Jupiter !" in ii. 4. i. 

151. Scrip. The shepherd's pouch. Cf. i Sam. xvii. 40, etc. S. has 
the word only here and in M. N. D. i. 2. 3, where it means list. 
7158. The feet were lame. Cf. Per. iv. prol. 48 : "the lame feet of my 
rhyme." 

162. Should. According to Abbott (Gr. 328), used to denote a state- 
ment not made by the speaker ; but it may possibly depend on wojider- 
ing rather than on hear. 

163. The nine days. The proverbial nine that a wonder is supposed 
to last. Cf 3 Hen. VI. iii. 2. 1 13 : 

^^ Gloucester. That would be ten days' wonder at the least. 
Clarence. That 's a day longer than a wonder lasts." 

164. A palm-tree. A stumbling-block to some of the critics. See on 
L I. 107 above. Coll. suggests that S. wrote " plane-tree !" 



iy4 NOTES. 

165. Pythagoras' time. M. remarks that '* the opinions of this phi- 
losopher are wittily explained in T. N. (iv. 2. 54-60), and forcibly in M, 
<?/K (iv. I. 131)." 

166. An Irish rat. Cf. B. J., Poetaster: 

" Rhyme them to death, as they do Irish rats, 
In drumming tunes;" 

Sidney, Defence of Poesie : "Though I will not wish vnto you, the Asses 
eares of Midas, nor to bee driuen by a Poets verses, (as Bubonax was) to 
hang himselfe, nor to be rimed to death, as is sayd to be doone in Ire- 
land, yet thus much curse I must send you." In Scot's Discovery of 
Witchcraft, the power of magic incantations is said to be claimed by the 
Irish witches: "The Irishmen addict themselves wonderfully to the 
credit and practice hereof; insomuch as they affirm, that not only their 
children, but their cattel, are (as they call it) eye-bitten, when they fall 
suddenly sick, and tearm one sort of their Witches eye-biters ; only in 
that respect : yea and they will not stick to affirm, that they can rime 
either man or beast to death." Randolph, in The Jealous Lovers, v. 2, 
has a reference to the same belief: 

" If he provoke my spleen, I '11 have him know 
I soldiers feed shall mince him, and my poets 
Shall with a satire, steep'd in gall and vinegar. 
Rhyme 'em to death, as they do rats in Ireland.'* 

Cf. Pope's version of Donne's Second Satire, 22 : 

" One sings the fair : but songs no longer move ; 
No rat is rhymed to death, nor maid to love." ' 

Wr. adds that the supposed effect of music upon these animals will be 
present to the recollection of every one who has read Browning's Pied 
Piper of Hamelin. 

On that, see Gr. 284 ; and on which, Gr. 271. 

167. Trow you. Know you. Cf. T. ofS. i. 2. 165 : "Trow you whither 
I am going ?" etc. 

169. And a chain, etc. Cf. i. 2. 229. On and, Wr. remarks: "This 
irregular and elliptical construction, in which a7id does yeoman's service 
for many words, may be illustrated by Cor. i. i. 82 : ' Suffer us to famish, 
and their storehouses crammed with grain;' and Cymb.v.\. 179: 'But 
a man that were to sleep your sleep, and a hangman to help him to bed, 
I think he would change places with his officer.' " 

172. For friends, e\.z. Halliwell quotes Ray, ^5";/^, /'r(?z^£'r<5j.* "Friends 
may meet, but mountains never greet ; mons cum monte non miscebitur ; 
pares cum paribus ; two haughty persons will seldom agree together ;" 
Three Lo7'des of London, 1 590 : " I '11 tell thee why we meet ; because we 
are no mountains;" and Lyly's Mother Bo7?ibie, 1594: "Then we two 
met, which argued that we were no mountains." 

173. Toilet quotes from Holland's Plijiy the following, which S. may 
or may not have had in mind: "There happened once (which I found 
in the bookes of the Tuscanes learning) within the territorie of Modena, 
(whiles L. Martins and Sex. lulius were Consuls) a great strange wonder 
of the Earth : for two hilles encountred together, charging as it weref 



ACT III. SCENE IL 



175 



and with violence assaulting one another, yea and retiring againe with a 
most mightie noise." 

177. Petitionary. The word occurs again in Cor. v, 2. 82 : "thy peti- 
tionary countrymen." 

180. Out of all whooping. Beyond all exclamations of wonder. Stee- 
vens explains it, " out of all measure, or reckoning," and compares the 
old phrase "out of cry" or "out of all cry," of which Halliwell adds 
many examples. 

The folio has " hooping," but the other spelling is found in writers of 
the time. 

182. Good my complexion! "Let me not blush" (Warb.). Cf. 170 
above. M. explains it less happily, " In the name of all my good looks." 
J. H, thinks that Rosalind " means to compliment her complexion for 
having by its blushes shown her genuine nature as a woman." 

183. Caparisoned. Used jestingly, as in T. ofS. iii. 2. 67. 

184. A Sonth Sea of discovery. That is, " to be searched for discov* 
ery " (Schmidt) ; the least delay is as bad as a voyage of discovery. 

190. Is he of God'' s making? Or his tailor's? Ci. Lear, ii. 2. 59: 
"You cowardly rascal, nature disclaims in thee: a tailor made thee;" 
and Stephens, Essay es and Characters, ed. 161 5 : "Her body is (I pre- 
sume) of God's making & yet I cannot tell, for many parts thereof she 
made her selfe" (Wr.). 

195. Let me stay, etc. Tell me who he is, and I '11 wait for the growth 
of his beard. For j/^_;j/ = wait for, cf. T. G. of V. ii. 2. 13, Rich. II. i. 3. 
4, Macb. iv. 3. 142, etc. 

199. Speak sad brow, etc. Speak seriously, as you are a true maid. 
Cf Mtich Ado, i. I. 185 : "Speak you this with a sad brow?" (see also 
M. A\ D. p. 175) ; and for the construction, Hen. V. v. 2. 156 : " I speak 
to thee plain soldier ;" K. John, ii. i. 462 : " He speaks plain cannon 
fire," etc. See also 258 below. 

206. Wherein went he? How was he dressed? Cf. 0th. ii. I. 15 1 : 
" went never gay ;" Lear, ii. 4. 27 : " to go warm," etc. J. H. prefers to 
make 7f/z^m«=whereinto. 

207. Makes. Does. See on i. i. 26 above. 

208. With. Cf. Rich. II. ii. 2. 2 : " parted with the king, etc. Gr. 194. 
We have " parted from " in iv. 3. 98 below. 

210. Gargantua's inonth. Gargantua was the giant in Rabelais who 
swallowed five pilgrims at a gulp. Wi". cites Cotgrave, Fr. Diet. : " Gar- 
gantua. Great throat. Rab." Steevens quotes from the Registers of 
the Stationers' Company two items, showing that in 1592 [April 6] was 
entered "Gargantua his prophesie," and in 1594 [Dec. 4] "A booke 
entituled, the historic of Gargantua &c." 

211. To say ay and 710, etc. Wr. compares Lear, iv. 6. 100. 
215. Looks he as freshly. See on i. 2. 137 and ii. 6. 12 above. 

217. Atomies. Atoms, motes. Cf R. and J. i. 4. 57 and 2 Hen. IV. v. 4. 
33. Wr. quotes Cockeram {Eng. Diet.), who defines "atomy" as "A 
mote flying in the Sunne-beames." Cf Milton, // Pens. 7 : 

"As thick and numberless 
As the gay motes that people the sunbeams." 



176 



NOTES. 



Resol7ie=so\xe, answer; as in 3 Hen. VI. iv. i. 135, etc. 
219. Observance. Observation, attention. Cf. 0th. iii. 3. 151: "scat- 
tering and unsure observance," etc. 

221. Jove's tree. Cf. 3 Hen. VI. v. 2. 14: "Jove's spreading tree." 
The oak was sacred to Jupiter. Wr. quotes Virgil, Geor. iii. 332 ; 
" Sicubi magna Jovis antique robore quercus 
Ingentes tendat ramos." 

225. Stretched along. See on ii. i. 30 above. 

228. The gronjtd. Tlie background of the picture, as Caldecott ex- 
plains it ; though it may have its ordinary meaning. 

229. Holla. Used in checking horses. Cf V. and A. 284 : 

" What recketh he his rider's angry stir, 
His flattering 'Holla,' or his 'Stand, I say?' " 

On cuj'vets, cf. V. and A. 279: "rears upright, curvets, and leaps." 
We have the noun, accented on the last syllable, in A. W. ii. 3. 299 : " the 
bound and high curvet Of Mars's fiery steed." Modern authorities are 
divided on the accent of both verb and noun. See Wore. 

230. Furnished. Dressed, equipped. Cf. epil. 8 below ; also i ^^;?, /K 
V. 3. 21 : " furnish'd like the king," etc. 

231. Heart. There is a play on the word; as in T. N. iv. i. 63, J. C. 
iii. I. 208, V. and A. 502, etc. 

233. Bringest me out. Put me out ; as in 236 below. Cf. L. L. L. v. 
2. 171 ; "that brings me out." 

237. By. Aside. So " walk by " = step aside, in 0th. v. 2. 30 ; " stand 
by "==stand aside, stand back, in Much Ado. iv. i. 24, T. of S. i. 2. 143, etc. 

239. Had as lief have been. Cf Much Ado, ii. 3. 84, and see on i. i. 
133 above. Myself alone — h'j myself; an expression, as we are told, still 
used in Scotland. 

240. Fashion sake. See on 126 above. 

242. God be wi'' you. " God buy you " in the folio ; as in iv. i. 28 and 
v. 3. 38 below, and many other passages. Some suppose our good-bye to 
be the same phrase. See Wb. 

246. Aloe. More ; the folio reading here as in forty or more other 
passages, though we find "more" in 244 just above. The form is re- 
quired by the rhyme in R. of L. 1479 and Mtich Ado, ii. 3. 72. As Wr. 
notes, 7noe appears to be used only with the plural. In the one apparent 
exception in the folio {Temp. v. I. 234: "mo diversitie of sounds") the 
expression is virtually a plural. 

249. Just. Just so ; as in M.for M. iii. I. 68, Much Ado, ii. i. 29, v. i. 
164, ^^;z. F. iii. 7. 158, etc. 

256. Conned. Learned by heart ; as in M. N. D. i. 2. 102, Hen. V. iii. 
6. 79, etc. 

257. Otit of rings. Alluding to the "posies" or mottoes inscribed on 
rings. See Mer. p. 164. 

258. / answer you right painted cloth. For the construction, see on 
199 above. Painted cloth alludes to the tapestry hangings for rooms, 
which were ornamented with figures and mottoes. Cf. R. of L. 245, 
L. L. L. V. 2. 579, I Hen. IV. iv. 2. 28, and T. and C. v, lo. 47. Steevens 
quotes Randolph, The Muse's Looking-^lass iii. i : 



ACT III. SCENE 11. 177 

"Then for the painting, I bethink myself 
That 1 have seen in Mother Redcap's hall, 
In painted cloth, the story of the Prodigal." 

flalliwell adds from No Whipping nor Tripping, 1601 : 

" Read what is written on the painted cloth ; 
Do no man wrong; be good unto the poor; 
Beware the mouse, the maggot and the moth, 
And ever have an eye unto the door," etc. 

263. No breather. Cf. Sonn. 81. 12 : " all. the breathers of this world ;' 
and A. and C. iii. 3. 24 : " a body rather than a life, A statue than a breath- 
er." Halliwell refers to i Cor. xi. 28, and quotes Law's remark that 
" every man knows something worse of himself than he is sure of with 
respect to others." 

268. By my troth. See on i. 2. 79 above. 

286. Sighing every mimite, etc. Cf. Rich. II. v. 5. 50-58. 

291. Who. See Gr. 274. 

2^1. A se'njtight. A week. Cf. /?;Y«/^///= fourteen nights. ^ 

298. Year. Cf. Son7i. 1 1. 8: "threescore year;" Temp. i. 2. 53: 
"Twelve year since, Miranda, twelve year since," etc. See Rich. II. 
p. 182, note on A thousand ponjid. 

315. Fringe. Fairholt, in his Costumes, gives representations of petti- 
coat fringes from portraits of the Elizabethan age. 

316. Native. Cf. Ham. i. 4. 14 and iv. 7. 180. S. has native as a noun 
( ^source) only in Cor. iii. I. 129 : " the native of our so frank donation ;" 
where some critics would read " motive." 

317. Cojiy. Rabbit. Cf. V. and A. 687 and Cor.'w. 5. 226. Kindled= 
littered, born ; still used of hares and rabbits in some provincial dialects. 
Halliwell quotes Palsgrave, 1530: "A konny kyndylleth every moneth 
in the yere." 

320. Purchase. Get, acquire. Cf. Mer. ii. 9. 43 : " purchased by the 
merit of the wearer ;" Rich. II. i. 3. 282 : " I sent thee forth to purchase 
honour," etc. 

Removed^'xeax^di. Cf. W. T. v. 2. 116 : " that removed house ;" M.for 
M. i. 3. 8 : " the life removed," etc. See also Milton, // Pens. 78 : " Some 
still removed place." 

321. Of. By. Cf. i. I. 103, 150, etc. Gr. 170. 

322. Religious. That is, a monk or hermit. Cf. v. 4. 155, 176 below. 
So in Rich. II. v. I. 23, "religious house" ^convent. 

323. Courtship. Court life ; with a play on the other sense. Cf. R. 
and J. iii. 3. 34. 

327. Taxed. Charged. See on i. 2. 75 above. 

339. Fancy -monger. Love-monger. See on fantasy, ii. 4. 27 above. 

340. Qtcotidian. A fever with daily paroxysms. Cf. Lyly's Euphties : 
" if euer she haue ben taken with the feuer of fancie, she will help his 
ague, who by a quotidian fit is conuerted into phrensie," See also Hen. V. 
ii. I. 124 : " He is so shaked of a burning quotidian tertian, that it is most 
lamentable to behold." 

343. There is none. See Gr. 335. 

344. Cage of rushes. That is, weak bondage. 

M 



1 78 NOTES. 

347. A blue eye. Ci. R. of L. 1587 : 

"And round about her tear-distained eye, 
Blue circles stream' d, like rainbows in the sky." 

So in "blue-eyed hag," in Temp. i. 2. 270. 

348. Unquestionable. Disinclined to question or conversation. Cf, 
questionable in Ham. \. 4. 43. For question =-\.2\\ conversation, see iii. 4. 
32 and V. 4. 156 below. 

350. Simply. Indeed, absolutely. Cf. M. N. D. iv. 2. 9 : " he hath sim- 
ply the best wit of any handicraft man in Athens ;" Hen. V. iii. 7. 105 : 
" He is simply the most active gentleman of France," etc. 

Having— ^xo^txX.-^, possession. Cf. M. W. iii. 2. 73 : " the gentleman is 
of no having ;" Cymb. i. 2. 19 : " he added to your having," etc. 

352. Ungartered. Ci.T. G. ofV. ii. I. 79 and Ham. ii. I. 80. 

i6'^;z;/^/=hat ; as elsewhere in S, Cf V. and A. 339: "his bonnet" 
(called " his hat " in 351 just below), etc. Stubbes {Anatomie of Abuses, 
1583, quoted by Wr.), describing the various fashions in hats of his 
time, says, " An other sort have round crownes, sometimes with one 
kinde of bande, sometime with an other ; nowe blacke, now white, now 
russet, now red, now greene, now yellowe, now this, nowe that, never con- 
tent with one colour or fashion two dayes to an ende." He also men- 
tions with great scorn a fashion which had come in from France of 
wearing hats without bands. Cf. B. J., Every Man Out of his Humour, 
iv. 4 : " I had on a gold cable hatband, then new come up, which I wore 
about a murrey French hat I had." For an illustration of the whole pas- 
sage see Hey wood's Fair Maid of the Exchange : 

" No by my troth, if every tale of love, 
Or love it selfe, or foole-bewitching beauty, 
Make me crosse-arme my selfe ; study ay-mees ; 
Defie my hat-band ; tread beneath my feet 
Shoo-strings and garters; practise in my glasse 
Distressed lookes, and dry my liver up, 
With sighes enough to win an argosie." 

355. Point-device. "Up to the best mark devisable" (M.), affectedly 
nice. Cf. L. L.L.Y.1.21 and T. N. ii. 5. 176. 

362. In good sooth. In very truth. See Mer. p. 127 or M. N. D. p. 153. 

366. He. See on 10 above. 

372. A dark house, etc. The usual treatment of lunatics until a very 
recent date. Dr. Brown, a high medical authority of seventy years ago, 
seriously maintained that "the patient ought to be struck with fear and 
terror, and driven in his state of insanity to despair ; as a remedy against 
over muscular excitement the labour of draught cattle should be imposed 
on him ; the diet should be the poorest possible, and his drink only wa- 
ter." Cf. T. N. iii. 4. 148, V. I. 350, C. of E. iv. 4. 97, etc. 

379. Moojzish. Changeable, variable ; or possibly, as Halliwell sug- 
gests, foolish, weak. B, J. uses moonling in the sense of fool. 

386. Drave. Cf. T. and C. iii. 3. 190, R. and J. i. I. 127, etc. S. also 
uses drove for the past tense {M. W. v. 5. 131, etc.), and driven and droven 
{A. and C. iv. 7. 5) for the participle. 

387. Living. Real, as opposed to mad. Cf. 0th. iii. 3. 409 : " a living 
reason." 



ACT III. SCENE HI. 179 

389. Merely. Absolutely. Cf. Temp. i. i. 59 : " we are merely cheated 
of our lives," etc. See J. C. p. 129, note on Merely upon myself. 

390. Liver. Considered the seat of love. Cf. Temp. iv. i. 56, Much 
Ado, iv. I. 233, etc. See also liver-vein in L. L. L. iv. 3. 74. The simile, 
as Steevens remarks, is in keeping with Rosalind's assumed character 
of a shepherd. 

Scene III. — i. Audrey. A contraction of Etheldreda. The word 
tawdry is said to be a corruption oi Saint Audrey. See Wb. 

3. Feature. Shape, personal appearance (Schmidt). Cf. Sonn. 1 13. 
r2, Temp. iii. i. 52, etc. It may here be = "facture" (or making in the 
early English sense of composition, verses), as Mr.W. Wilkins explains it. 

5. Goats. There is a play on this word and Goths.^ which seems to 
have had the same pronunciation. So, as W. has shown, with moth and 
mote, nothing and noting, etc. Caldecott remarks that in our early print- 
ing Goths and Gothic were spelt Gotes and Gottishe. He quotes Thomas* 
Hist, of Italye, 1561 : "against the gotes" (that is, Goths). Capricious 
is apparently used here on account of its derivation (Latin caper, goat). 

7. Ill-inhabited. Ill-housed. See Gr. 294. For the allusion to the 
story of Philemon and Baucis, cf. Much Ado, ii. I. 99. 

II. A great reckoning, etc. A large bill for a small company or a 
iiean entertainment. J. H. explains it, " an extensive reckoning to be 
written out in very small space." 

18. May be said. M. Mason wished to read "it may be said ;" but it 
is more likely a " confusion of construction" (cf. Gr. 415) for " may be 
said to be feigned." 

22. Honest. See on i. 2. 34 above. 

25. Hard-favoured. Ill-favoured (cf. i. 2. 35 above), ugly. Cf. V. and 
A. 133 : " Were I hard-favour'd, foul, or wrinkled-old ;" Hen. K iii. i. 8 : 
" Disguise fair nature with hard-favour'd age," etc. 

28. Material. "Full of matter" (ii. i. 68), sensible. 

34. Foul. Plain, ugly ; as in the passage from F. and A. just quoted, 
and in iii. 5. 62 below. 

44. Stagger. "Waver, hesitate ; as in M. W. iii. 3. 12, etc. 

45. What though ? What of it? Cf. M. W. i. i. 286, Hen. V. ii. i. 9, 
etc. Gr. 64. 

46. Necessary. Unavoidable ; as in J. C. ii. 2. 36, etc. 

50. Are horns given, etc. The emendation of the Coll. MS. for the 
folio reading : "homes, euen so poore men alone : No, no," etc. Theo. 
pointed it thus: "Horns? — even so: — poor men alone?" D. reads: 
" Horns ? ever to poor men alone ?" Sundry other changes have been 
proposed. 

51. Rascal. A lean or worthless deer. Puttenham, in his English 
Poesie, says : " raskall is properly the hunter's terme given to young 
deere, leane and out of season." Cf. Palsgrave : " Rascall, refuse beest, 
refics ;" Quarles, Virgin Widozv : " And have known a rascal from a fat 
deer ;" Lovelace, lucasta : " Passe rascall deare, strike me the largest 
doe," etc. For a play on the word, see C(fr, i. 11. 63, s Hm, IV. ii. 4. 
45, v. 4. 34, etc. , 



i8o NOTES. 

53. More worthier. See on iii. 2. 56 above. 

55. By how muck, etc. See on v. 2. 41 below. 

57. Sir. "The style of a priest, answering to domimis^^ (Halliwell), 

61. On gift of any ?Han. The idea seems to be that what is given 
away is not worth having. 

66. God Held you. God yield you, reward you. See Macb. p. 175, and 
cf. V. 4. 53 below. The full form (" the gods yield you for 't !") occurs in 
A. and C. iv. 2. 33. 

70. Bozv. The English editors explain ox-bow as a provincialism, but 
it is in common use in New England. Cf. _^// = thill [Mer. p. 139). 

71. Falcon. The female bird (see Schmidt or Wb.), the male bird be- 
ing called tercel or tassel (cf. T. and C. iii. 2. 56 and R. and J. ii. 2. 160). 
Falcon is masculine in R. of L. 506, but this is because it is applied meta- 
phorically to Tarquin. On the bells^ cf. R. of L. 511 and 3 Hen. VI. i. 
1.47. 

79. But I were better. That it were not better for me. Cf. 2 Hejt. IV, 
i. 2. 245, T. N. i. 2. 27, etc. The construction was originally impersonal 
( = to me it were better), like if I please, etc. See on i. i. 85 above, or 
Gr. 230, 352. 

86. O sweet Oliver. A quotation from a ballad of the time. Steevens 
says : " In the books of the Stationers' Company, Aug. 6, 1584, was en- 
tered, by Richard Jones, the ballad of 

'O swete Olyuer 
Leaue me not behind the.' 

Again [Aug. 20], ^ ^, ^ ^ ^, . 

^ L & J> i rj,j^^ answeare of O svveete Olyuer.' 

Again, in 1586 [Aug. ij, 

*0 sweete Olyver altered to ye scriptures. '" 

90. Wind. Steevens notes that wind—wtxvA in CcBsar ajid Pompey^ 
1607 : " Winde we then, Anthony, with this royal queen," etc. It may 
be = turn, as in J. C. iv. I. 32, etc. 

94. Flout. Mock, jeer ; as in i. 2. 41 above, etc. For calliitg; see on 
i. 2. 216 above. 

Scene IV. — 8. Than fudas's. It was a current opinion that Judas 
had red hair and beard, and he was commonly so represented in the 
paintings and tapestries of the time. Cf. Marston, Insatiate Countess^ 
1613 : " I ever thought by his red beard he would prove a Judas ;" Mid- 
dleton. Chaste Maid in Cheapside, 1620 : " Sure that was Judas with the 
red beard," etc. 

II. Yotir chestnut. A common colloquial use oiyour. Cf. v. 4. 59 be« 
low ; also M. N. D. i. 2. 95, iii. i. 33, iv. i. 36, etc. Gr. 221. 

14. Holy bread. Sacramental bread. Warb. wished to read *' beard ;'* 
that is, " the kiss of an holy saint or hermit !" 

15. Cast. Cast off, discarded. Cf. Hen. V. iv. I. 23 : " casted slough ;" 
He7i. VIII. i. 3. 48: "your colt's tooth is not cast yet," etc. The later 
folios read " chast." For the allusion to Diana, cf. Much Ado, iv. i. 58» 
T. of A. iv. 3. 387, Cor. v. 3. 65, etc. 



ACT III. SCENE V. l8i 

l6. Winter'^ s sisterhood. That is, *' an unfruitful sisterhood " (Warb.). 
Cf. M. N. DA.i.Ti: 

"To live a barren sister all your life, 
Chanting faint hymns to the cold fruitless moon." 

Theo. would read " Winified's sisterhood." 

22. Pick-purse. Pickpocket; as in M. W. i. I. 163, Z.Z.Z. iv. 3. 208, 
etc. 

23. Verity. Faith, honesty; as in Macb. iv. 3. 92: "justice, verity, 
temperance." 

24. A covered goblet. Wr. says : " which having a convex top is more 
hollow than a goblet without a cover ;" but perhaps better, as M. gives 
it, because the cover is on only when the cup is empty. 

29. The word of a tapster. Who would cheat in his reckoning. C£ 
L. L. L. i. 2. 42 : "I am ill at reckoning ; it fitteth the spirit of a tapster ;" 
T. and C. i. 2, 123 : " a tapster's arithmetic," etc. 

32. Questioit. Talk, conversation. Cf. v. 4. 156 below ; also W. T. iv. 
2. 55, etc. See on iii. 2. 348 above. 

35. What. For what, why. Cf. J. C. ii. i. 123 : " What need we any 
spur," etc. Gr. 253. 

37. A brave man! A fine fellow ! Cf. for the irony Temp. iii. 2. 12 ; 
" He were a brave monster indeed," etc. See on bravery, ii. 7. 80 above. 

39. Traverse. Crosswise ; that is, clumsily. It was thought disgrace- 
ful to break a lance across the body of an adversary, and not by a direct 
thrust. Cf. Mtich Ado, v. I. 139 : " give him another staff: this last was 
broke cross." Halliwell quotes N'orthward Hoe, 1607: "like a tilter 
that had broke his staves foul before his mistress." 

Lover is feminine, as in T G. ofV. i. i. 116, Cymb. v. 5. 172, etc. 

40. Puisiiy. Puny (which is the same word), inferior. 

41. A noble goose. The adjective is obviously ironical; but Hanmer 
wished to read "a nose-quill'd goose" (a term in falconry), and Farmer 
approved the change. 

44, Of love. That is, of the want of it (Schmidt). See on ii. 3. 12 
above, and cf iii. 2. 28. 

45. Who. For who following that, see Gr. 260 ; and for the form, Gr. 
274. The later folios have " Whom." 

48. Pageant. Cf. M. N. D. iii. 2. 114: " Shall we their fond pageant 
see r 

49. Pale complexion. Perhaps alluding to the popular belief that the 
heart lost a drop of blood with every sigh. Cf. M. N. D. iii. 2. 96 : 

*' All fancy-sick she is, and pale of cheer 
With sighs of love, that costs the fresh blood dear ;** 

and see note in our ed. p. 163. 

54. See. Not in the folio, but inserted by D, Pope read, " Bring us 
but to this sight ;" Capell, " Come, bring ;" Malone, " Bring us unto," eta 

Scene V. — ^^5. Falls. For the transitive use cf. Temp. ii. i. 296, v. I. 
64, J. C. iv. 2. 26 (see note in our ed. p. 169), etc. Gr. 291. 

6. But first begs. Without first begging. See on iii. 2. 46 above. 
Gr. 120. 



I82 



UOTES. 



7. Dies and lives. Lives and dies, gets his whole livelihood. Mr. 
Arrowsmith {Notes and Queries, i series, vii. 542) compares Romaunt of 
the Rose, 5790 : 

" With sorrow they both die and live 
That unto richesse her hertes geve ;" 

and Barclay, Ship of Fooles, 1570 : 

" He is a foole, and so shall he dye and Hue, 
That thinketh him wise, and yet can he nothing." 

Dr. Ingleby {Shakespeare Hermeneutics, p. 59) admits that to die and live 
was sometimes = /^ live and die, but maintains that to die and live by a 
thing meant " to make that thing a matter of life and death," He adds : 
*' The profession or calling of a man is that by which he dies and lives ; 
i. e. by which he lives, and failing which he dies." The Camb. ed. records 
nine "emendations" of the passage, but none is needed. 

1 1. Sure, Surely. Cf. Temp. i. 2. 388, ii. i. 315, etc. 

12. FraiVst. This contraction of superlatives is common in S. Cf. 
♦* civil'st " (2 Hen. VI. iv. 7. 66), " kind'st {Macb. ii. i. 24), " stern'st " {Id. 
ii. 2. 4) " secret'st " {Id. iii. 4. 126), etc. Gr. 473. 

16. And if An if. Gr. 103, 

22^. Cicatrice. Mark, impression. CV?/«(5/^ is apparently = sensible. Cf. 
Greene, Orphan-ion, 1599: "conducted into the great hall of the gods, 
Mercury sprinkled me with water, and made me capable of their divine 
presence." See also Ham. iv. 7. 179, where "incapable of her own dis- 
tress "= insensible, etc. For impressure, cf. T. N. ii. 5. 103 : "Soft ! and 
the impressure her Lucrece, with which she uses to seal ;" and T. and C. 
iv. 5. 131 : "my sword had not impressure made." 

24. Some mojnent. Cf. R. and J. v. 3. 257: "some minute ere the 
time," etc. Wr. remarks that ''some was formerly used with singular 
nouns." This is somewhat indefinite. The word is still used with sin- 
gular nouns to express kind or quantity ; as in " some fresh cheek " in 
29 just below, "some food" {Temp. i. 2. 160), etc. We can even say 
" some half an hour " (Z. L. L. v. 2. 90), " some month or two " {M. ofV. 
iii. 2. 9), etc. It is doubtful, indeed, whether there is any Shakespearian 
use of the word which might not be allowed now. In Temp. i. 2. 7 
("Who had no doubt some noble creature in her") D., St., and others 
read " creatures ;" but even here the singular would not be clearly an 
exceptional instance. 

26. Nor . . . no. See Gr. 408, and cf. i. 2. 14 above. 

29. Fancy. Love. See on iii. 2. 339 above. 

36. And all at once. " And all the rest, and everything else " (Schmidt). 
See Hen. V. p. 145. 

37. No beauty. It would seem to be clear enough from the context 
that Rosahnd is bantering Phebe, but the negative has troubled some of 
the editors. Theo. reads " you have beauty ;" Malone, " mo beauty ;" 
Steevens, "more beauty ;" Hanmer, "some beauty ;" and so on. 

39. Dark. In the dark. Cf. A. W. iv. i. 104 : " I '11 keep him dark," 
etc. 

Seymour explains the passage, " Your beauty admits not of hyperbol- 
ical praise, I cannot say it illumines darkness ;" Wr., " not being so verjy 



ACT III. SCENE V. 183 

brilliant;" M., "without exciting any particular desire for light to see 
it by." 

43. Sale-ivork. " Ready-made," as we say, in distinction from " cus- 
tom work " or that done to order. 

Od 's my little life. A petty oaih. Cf. Mu6-/i Ado, iv. 2. 72 : "God's 
my life !" See also " Od 's my will !" in iv. 3. 17 below ; " Od 's me !" in 
M. W. i. 4. 64, etc. 

47. Bugle. Black like "bugles," as beads of black glass are still 
called. 

48. Entame. Tame, subdue ; used by S. only here. Gr. 440. For 
/<^;/z,? = subdue, see Much Ado, v. i. 210, T. of S. ii. i. 278, iv. i. 213, iv. 2. 
53. 58> etc. 

50. Foggy south. For the south wind as bringing fog and rain, cf. 
R. and J. i. 4. 103, 2 Hen. IV. ii. 4. 392, Cor. ii. 3. 32, Cynib. ii. 3. 136, 
iv. 2. 349, etc. 

51. Properer. Handsomer. See on i. 2. 106, and cf. 55 and 114 be- 
low. 

53. Makes. For the use of the singular, see Gr. 247. 

59. Friendly. As a friend. For the adverbial use, cf. T. of S. i. i. 141, 
iv. 2. 107, Cor. iv. 6. 9, A. and C. ii. 6. 47, etc. 

60. You are not, etc. We might use this expression, but not " This 
sky is not to walk in " [J. C. i. 3. 39), " He is not for your lordship's re- 
spect " {A. W. iii. 6. 109), etc. Cf. Gr. 405. 

61. Cry the man mercy. That is, beg his pardon. Cf. M. W. iii. 5. 27, 
M. N. D. iii. I. 182, etc. 

62. Foul is most foul, etc. " There is no ugliness like that which goes 
with scofong" (M.). See on iii. 3. 34 above. 

66. If the text is right, the first clause must be addressed to Phebe, 
and what follows to Silvius. Hanmer changed jj/^z^^ to "her." 

68. Sauce. Cf. our vulgarism of"sassing" a person. From meaning 
to give zest or piquancy to language, the word came to be used ironically 
in the sense of making it hot and sharp ; or, in other words, from mean- 
ing to spice it came to mean to pepper. Cf. M. ^ iv. 3. 11 : "I '11 sauce 
them." 

73. If you will know, etc. Probably addressed to Silvius. 

75. Look on him better. Think better of him, regard him more favour- 
ably. 

78. Abtis'd. Deceived. Cf. Much Ado, v. 2. 100 : " Hero hath been 
falsely accused, the prince and Claudio mightily abused," etc. 

80. Dead shepherd, etc. See introduction, p. 10 above. Marlowe was 
killed in a quarrel in 1593. For saw, cf. ii. 7. 156 above. Of might = 
lorcibly true. 

88. Extermined. Used by S. only here. Its equivalent exterminate 
he does not use at all. 

89. Possibly, as Halliwell suggests, there is an allusion to the Scrip- 
tural injunction, " thou shalt love thy neighbour as thyself." 

93. Since that. See on i. 3. 41 above. Gr. 287. 

94. Irksome. See on ii. i. 22 above. 

99. Grace. Either favour, regard (as in Much Ado, ii. 3. 31, L. L. Z. ii, l. 



i84 



NOTES. 



60, etc.), or fortune, happiness (as in M.for M. i. 4. 69, M.N.D. ii. 2. 89, 

etc.). 

102. Loose. Let fall. Cf Ruth, ii. 16. 
104. Erewhile. See on ii. 4. 84 above. 

106. Bounds. See on ii. 4. 78 above. 

107. Carlot. Peasant ; from carl (see Cynib. v. 2. 4), v^rhich has the 
same meaning. 

log. Peevish. Silly. See i%//. K p. 171. 

112. It is. See on i. i. 129 above. 

120. Lusty. Lively, fresh. Cf Sonn. 5. 7, Temp. ii. I. 52, etc. 

122. Constant. Uniform ; as opposed to the mingled damask, or red 
and white. Cf So}m. 130. 5 : " roses damask'd, red and white." 

124. In parcels. Piecemeal. Cf "by parcels" in 0th. i. 3. 154. 

Would have gone near to /all —would have come near falling. Cf. 
Temp. ii. 2. 78, Aluch Ado, iv. 2. 24, etc. 

127. /. Not in the ist folio, but added in the 2d. 

128. What had he to do, etc. What right had he, etc. Cf AI. W. iii. 3. 
164: " What have you to do (what is it to you) whither they bear it?" 
The phrase is used absolutely in T. ofS. i. 2. 226 and iii. 2. 218. 

130. I am reinember'' d. I recollect. Cf M.for M. ii. I. no, 114, T. ofS. 
iv. 3. 96, Rich. III. ii. 4. 23, etc. See on ii. 7. 189 above. 

132. Omittance is no quittance. Doubtless a proverbial expression. 

133. To him. W. omits to ; probably a misprint. 

135. Straight. Straightway, immediately. Cf Lear, i. 3. 25 : " I '11 
vs^rite straight to my sister," etc. See also ii. i. 69 above. 

137. Passing. Exceedingly ; as often. Cf M. N. D. ii. I. 20, Hen. V. 
iv. 2. 42, etc. It is occasionally an adjective ; as in T. G. of V. i. 2. 17 : 
**a passing shame ;" 3 Hen. VI. v. i. 106 : " O passing traitor !" etc. 



ACT IV. 

Scene I. — 4. / do love it, etc. M. quotes what Johnson says to Bos- 
well : "You are always complaining of melancholy, and I conclude from 
those complaints that you are fond of it. Do not pretend to deny it : 
majiifestum habemtis fureju. Make it an invariable and obligatory law 
on yourself never to mention your own mental diseases. If you are 
never to speak of them, you will think of them but little ; and if yon 
think Httle of them, they will molest you rarely." 

5. In extremity of either. Extremely given to either. Cf iv. 3. 23 
below. 

6. Modern censure. Ordinary judgment. See on ii. 7. 156 above. For 
censure, cf W. T. ii. i. 37: "In my just censure, in my true opinion;" 
Rich. III. ii. 2. 144 : " To give your censures in this weighty business,'* 
etc. So the verb=judge in J. C. iii. 2. 16, Cor. ii. i. 25, etc. 

Worse than drunkards. " For both alike are as incapable of action 
as drunkards, and their state is more permanent" (M.). 

9. Good to be a post. M. again quotes Johnson : " I remember that I 



ACT TV. SCENE V. 



185 



was once at the house of a lady for whom I have a high respect. When 
the company were gone I said to her, 'What foolish talking have we 
had !' ' Yes,' said she, 'but while they talked you said nothing.' I was 
struck with the reproof. How much better is the man who does any- 
thing that is innocent, than he who does nothing !" 

13. Poiitic. That is, arising from " professionally assumed or half real 
sympathy with his client " (M.). 

14. Nice. Affected, squeamish. Halliwell quotes Hey wood, /'r^z/ifri^ffj/ 
** As nice as a nunnes hen." 

15. Simples. The ingredients of a compound, especially of herbs and 
medicines. Cf. R. of L. 530, R. and J. v. i. 40, Ham. iv. 7. 145, etc. 

17. My often. The ist folio has "by often," which Halliwell retains, 
considering the duplication of in an instance like that in ii. 7. 139. 

18. Htnnorotcs. " Fanciful " (Wr.). Cf. its use in i. 2. 249 and ii. 3. 8. 
Schmidt explains it here as "sad." 

19. A traveller ! See on ii. I. 41 above. 

28. God be wi' yoic. See on iii. 2. 242 above ; and for ««=if, Gr. loi. 

30. " See Overbury's Characters^ where ' An Affectate Traveller ' is 
described : ' He censures all things by countenances, and shrugs, and 
speakes his own language with shame and lisping.' Rosalind's satire 
is not yet without point. She punishes Orlando for being late by pre- 
tending not to notice him till Jaques is gone " (Wr.). 

31. Straiige suits. Cf. M. of V. i. 2. 79 fol. : " How oddly he is suited ! 
I think he bought his doublet in Italy," etc. ; and Hen. VIII. i. 3. 30: 

"tall stockings, 
Short blister' d breeches, and those types of travel." 

Z)/j-a<5/^= disparage ; as in v. 4. 73 below. Cf. M. of V, ii. 7. 30 and 
I Hen. VI. V. 3. 67. 

33. That countenance. Of that countenance, or national physiognomy. 
See Gr. 201 and cf. i. 3. 114 above. 

34. Swam. The folio has " swom " for the participle in Temp. ii. 2. 
133, and for the past tense in T. G. of V. i. i. 26. (Schmidt). 

Gondola is spelt "Gundello" in the folio, and the word is still pro- 
nounced "gundalow" in New England seaports. 

Johnson explains the passage, " That is, been at Venice, the seat at that 
time of all licentiousness, where the young English gentlemen wasted 
their fortunes, debased their morals, and sometimes lost their religion." 

43. Clapp''d him o'' the shoidder. That is, arrested him (Schmidt). Cf. 
Cymb. V. 3. 78. For another sense (as a mark of approval or good-will), 
see Much Ado, \. i. 261, L. L. I. v. 2. 107. etc. 

47. Of. By. Cf, iii. 2. 321 above. Gr. 170. 

49. Than you can make. Hanmer's correction of the "you make " of 
the folio. 

55. Beholding. Beholden. See Gr. 372 or Mer. p. 135. 

61. Leer. Look. There seems to be a touch of sarcasm in the word, 
though in early English it meant simply face, aspect. 

66. Yon were better. See on iii. 3. 79 above. 

67. Gravelled. Stuck in the sand, brought to a standstill. Wr. quotes 
Bacon, y^fl'z/. of L. i. 7. 8 : " Silenus was gravelled and out of countenance." 



1 86 NOTES. 

68. Out. At a loss for words. Cf. L. L. L. v. 2. 152, 165 ; Cor. v. 3. 
4.1, etc. See also iii. 2, 233 above. 

69. God ■warn iis ! God forbid ! Some have thought it a corruption 
of " God ward (that is, guard) us !" Cf Rich. III. v. 3. 254. 

77. Banker. Schmidt explains this as = " greater ;" W. makes it = 
grosser, worse. Cf rank in Ham. i. 2. 136, iii. 3. 36, etc. The Coll. MS. 
has ^^ thank my honesty rather than my wit." 

78. Stiit. For the quibble, cf ii. 7. 44 above. 

86. JVas not. Has not been. Cf Hen. V. iv. 7. 58 : "I was not angry 
since I came to France," etc. Gr. 347. 

88. Troilns, etc. " She will not give Troilus the honour of dying by 
Achilles' spear, nor trailed by his steeds, as in JEn. i. 474 " (M.). It is 
of a piece with Leander's "cramp." 

94. Chroniclers. Hanmer changed this to " coroners," not seeing that 
Rosalind sportively co?npares the chroniclers to a coroner's jury. 

116. Go to. Come ; a common phrase of exhortation or reproof Cf. 
Tetnp. v. I. 297, etc. See also Gen. xi. 4. 

124. Commission. Warrant, authority to perform the rite. 

125. There 'j-. Changed by Steevens to "There ;" but a relative may 
be " understood." Cf Gr. 244. Goes before the priest ; that is, does not 
wait for him to dictate the words. 

133. April. Cf M. ofV. ii. 9. 93 : 

"A day in April never came so sweet, 
To show how costly summer was at hand," etc. 

Elsewhere the metaphor is drawn from the rainy April ; as in A. andC. 
iii. 2. 43 : *' The April 's in her eyes," etc. 

134. May. Cf L. L. L. iv. 3. 102 : " Love, whose month is ever May," 
etc. 

136. A Barbary cock-pigeon. Qi. 2, Hen. IV. ii. 4. 108 : "a Barbary 
hen." 

137. Against. Before, in expectation of (Schmidt) ; as in Rich. II. iii. 
4. 28, etc. 

For ne%(j-f angled, cf Sonn. 91. 3 and L. I. L. i. I. 106. Fangled~g\wQn 
to finery, occurs in Cymb. v. 4. 134. Nares gives examples oi f angle ^^ 
trifle or toy, from Gayton, Fest. Notes (" What fangle now thy thronged 
guests to winne ") and Wood, Athence (" a hatred to fangles and the 
French fooleries of his time ") ; and Todd (Johnson's Diet.) adds from 
Greene, Mamillia : " There was no feather, no fangle, jem, nor jewel." 

139. Diana in the fojintain. Malone thought this an allusion to the 
cross in Cheapside, the religious images of which were defaced in 1596. 
According to Stow [Survey of london, 1603), there was then "set up on 
the east side of the cross ... a curiously wrought tabernacle of grey 
marble, and in the same an alabaster image of Diana, and water con- 
veyed from the Thames prilling from her naked breast, but now decayed.'* 
This passage has been quoted as fixing the date of the play between 1596, 
when the image was set up, and 1603, when it was " decayed ;" but it is 
doubtful whether S. had this Diana in mind. Statues of the goddess 
were a frequent ornament of fountains, as Whalley and others have shown 
by quotations from writers of the time. 



ACT IV. SCENE i: 187 

140. A hyen. That is, a hyena. S. mentions the animal only here. 
Wr. quotes Holland's Plhiy, xxviii. 8 : " The Hyaens bloud taken in- 
wardly with fried barley meale, doth mitigat the wrings and gripes of the 
bellie." The bark of the hyena was supposed to resemble a loud laugh, 
Steevens quotes The Cobler's Prophecy, 1594: "You laugh hyena-like, 
weep like a crocodile." Cf. Greene, Never too Late: "weeps with the 
crocodile, and smiles with the hiena." 

146. Make the doors. Shut the doors. Cf. C. of E. iii. I. 93: "The 
doors are made against you." According to Halliwell's Archaic Diet. 
the expression is still used in Yorkshire, and Dr. Evans (quoted by Wr.) 
says it is also heard in Leicestershire. 

147. ''T will out. For the ellipsis, cf. i. 2. 197 ; and see Gr. 405. 

151. Wit, %(} hither wilt? A proverbial expression, of which Steevens 
and others quote many contemporaneous examples. It seems to mean 
" What will your wit lead you to ?" and was used to check one who was 
talking nonsense or talking too much. 

156. Without her answer. Tyrwhitt quotes Chaucer, C. T. 10141 : 

*'Ye, sire, quod Proserpine, and wol ye so? 
Now by my modre Ceres soule I swere, 
That I shall yeve hire suffisant answere, 
And alle women after for hire sake ; 
That though they ben in any gilt ytake, 
With face bold they shul hemselve excuse. 
And here hem doun that wolden hem accuse. 
For lacke of answere, non of us shall dien. 
Al had ye seen a thing with bothe youre eyen. 
Yet shul we so visage it hardely. 
And wepe and swere, and chiden subtilly, 
That ye shul ben as lewed as ben gees." 

158. JTer husband's occasion. That is, " caused by him" (Schmidt); 
or it may mean "an occasion against her husband, an opportunity for 
taking advantage of him" (Wr.). 

162. Lack. Be without, do without. Cf. Macb. iii. 4. 84 : " Your noble 
friends do lack you," etc. 

171. By my troth, etc. Wr. remarks that Rosalind swears, as Hotspur 
would have said (see i Hen. IV. iii. I. 253), "like a comfit maker's wife : 
' Not you, in good sooth,' and ' as true as I live,' and ' as God shall mend 
me,' and ' as sure as day.' " 

175. Pathetical. Perhaps meant to be a somewhat affected word. S. 
puts it elsewhere only into the mouths of Armado (Z. L. L. i. 2. 103) and 
Costard {Id. iv. i. 150). Cotgrave, however, uses it to translate the Fr. 
pathetiqiie. It is also found in Lodge's novel, in Florio's Mojitaigne, 
Greene's Never too Late, etc. Warb. changed it here to "atheistical," 
and Grey suggested "Jesuitical." 

176. Hollow. Cf concave in iii. 4. 23 above. 

181. The old justice. Steevens quotes T. and C. iv. 5. 225 : " that old 
common arbitrator. Time." 

182. Simply misused. Absolutely abused. See on iii. 2. 350 above; 
and cf Much Ado, ii. i. 246, etc. 

183. We must have, etc. Cf Lodge's novel : " And I pray you, quoth 
Aliena, if youi robes were off, what mettal are you made of that you 



i88 NOTES. 

are so satyrical against women ? is it not a foule bird defiles his own 
nest ?" 

189. The bay of Portugal. Wr. observes : "In a letter to the Lord 
Treasurer and Lord High Admiral, Ralegh gives an account of the cap- 
ture of a ship of Bayonne by his man Captain Floyer in ' the Bay of 
Portugal ' (Edwards, Life of Ralegh, ii. 56). This is the only instance in 
which I have met with the phrase, which is not recognized, so far as I 
am aware, in maps and treatises on geography. It is, however, I am in- 
formed, still used by sailors to denote that portion of the sea off the 
coast of Portugal from Oporto to the headland of Cintra. The water 
there is excessively deep, and within a distance of forty miles from the 
shore it attains a depth of upwards of 1400 fathoms, which in Shake- 
speare's time would be practically unfathomable." 

192. Thought. Halliwell explains it, " moody reflection, melancholy." 
See y. C. p. 146, note on Take thought, and die. Schmidt makes it = 
love ; as in T. G. of V. \. i. 69, T. N. ii. 4. 1 15, etc. 

Spleen — C2i^^x\CQ. The word means "any sudden impulse or fit beyond 
the control of reason" (Schmidt). Cf. T.ofS.\\\. 2. 10: "A mad-brain 
rudesby, full of spleen ;" etc. It is used figuratively in this sense in 
M. N. D. i. I. 146 : 

" Brief as the lightning in the collied night, 
That, in a spleen, unfolds both heaven and earth," etc 

193. Abuses. Deceives. See on iii. 5. 78 above. 

195. Shadow. Shade, shady spot. Cf. V. and A. 191, Rich. II. iii. 4. 
25, etc. Steevens quotes Macb. iv. 3. i : 

*' Let us seek out some desolate shade, and there 
Weep our sad bosoms empty." 

Scene II. — 11. His leather skin, ^\.c. Steevens quotes Lodge's novel : 
" What news, forrester 1 hast thou wounded some deere, and lost him in 
the fall ? Care not man for so small a losse ; thy fees was but the skinne, 
the shoulder, and the horns." 

12. In the folios this line and the stage direction are printed as one 

" Then sing him home, the rest shall beare this burthen." 

Theo. was the first to give " The rest shall bear this burthen " as a stage 
direction. K. regards the whole as a stage direction, and omits it. Coll. 
and D. print it in different type ; W. does the same, reading " They " for 
"Then." Barron Field conjectured, 

"Men sing him home, the rest shall bear [This burthen.*' 
Halliwell prints, 

"Then sing him home, the rest shall bear— This burthen." 

13. Take thou no scorn. Cf. Hen. V. iv. 7. 107 : " your majesty takes no 
scorn to wear the leek ;" and i Hen. VI. iv. 4. 35 : " And take foul scorn 
to fawn on him." 

17. Lusty. Jocosely = gallant ; or, as Schmidt gives it, " almost = 
merry." 



ACT IV. SCENE III, 189 

Scene III. — Johnson remarks that " the foregoing noisy scene was 
introduced to fill up an interval, which is to represent two hours." 

2. Much Orlando ! Spoken ironically, of course ; but J. H. thinks it 
necessary to print "And here — much, Orlando !" and to explain it, "To 
be here is too much trouble for you, Orlando !" The Camb. ed. notes 
five stupid attempts in the way of " emendation." 

7. Bid. Often used by S. as the past tense. Cf. M. N. D. iv. i. 192, 
T. of S. i. 2. 30 (but bade in 37 just below), etc. The participle is bidm. 
every instance except Much Ado, iii. 3. 32 (Verges's speech), whei-e it is 
bidden. Cf. i. 2. 53 above. In the present passage, the ist folio has "did 
bidi" the later folios " bid." 

8. Contents. Accented as in 2t and in v. 4. 125 below; and so inva- 
riably in S., we believe. Cf.Worc. 

9. Action. A trisyllable. See on i. 2. 247 above. Gr. 479. 
ID. Of. See on ii. 4. 40 above. Gr. 178. 

14. Swaggerer. Bully. Cf. 2 Hen. IV. ii. 4. 81, 83, 91, 104, etc. For 
the thought, cf. M. for M. iii. 2. 207 : "This would make Mercy swear 
and play the tyrant." 

16. And that. And says that. Gr. 280 (cf 415). 

17. As rare as phoenix. Cf. Temp. iii. 3. 21 : 

" Now I will believe 
That there are unicorns, that in Arabia 
There is one tree, the phoenix' throne, one phoenix 
At this hour reigning there." 

In Z. C. f^^ phcenix is used as an adjective = matchless. According to 
the familiar fable, but one phoenix existed at a time, having risen from 
the ashes of its predecessor. See allusions to the story in 3 Hen. VI. i. 
4. 35, Hen. VIII. V. 5. 41, etc. 

Od's my will ! See on iii. 5. 43 above. 

23. Turned into. Brought to. Cf T. G. of V. iv. 4. 67 : "turns me to 
shame ;" Temp. i. 2. 64 : " the teen that I have turn'd you to," etc. 

27. A huswife'' s hand. The hand of a working housewife. 

32. Defies. For a different sense, see epil. 17 below. 

33. Woman'' s. Rowe's correction of the " women's " of the folios, 
which some eds. retain. 

34. Giant-rude. Gigantically or preposterously rude. Gr. 430. 

35. Ethiope. Not used elsewhere by S. as an adjective. For the 
noun, cf T. G. of. V. ii. 6. 26, Z. Z. Z. iv. 3. 1 18, 268, M. N. D. iii. 2. 257, etc. 

37. So please you. See on i. i. 85 above ; and for heard, on iv. i. 86. 

39. Phebes. Addresses me in the same " cruel " strain. 

44. Laid apart. Laid aside. Cf. Hen. V. ii. 4. 78 : " and lay apart 
The borrowed glories," etc. ; also B. J., To Cynthia : " Lay thy bow of 
pearl apart," etc. 

48. Vengeance. " Mischief" (Johnson and Schmidt). Cf. T. A. ii. 3. 
113 : "This vengeance on me had they executed." 

49. Meaning me, etc. Meaning that I am, etc. 

50. Eyne. Also written eye7t ; an old plural analogous to oxen, shoon, 
etc. It is used without rhynie in R. of L. 1229 and Per. iii. prol. 5. 

52. Alack, Alas. S. uses the two words interchangeably. Thus we 



190 NOTES. 

have " alas the day !" in iii. 2. 204 above, and " alack the day !" in M. of 
V. ii. 2. 73, etc. 

53. Aspect. Perhaps used in its astrological sense, the eyes being com- 
pared to stars. Cf. R. of L. 14, Sonn. 26. 10, W. T. ii. i. 107, T. and C. i. 
3. 92, I flett. IV. i. I. 97, etc. The accent of the word in S. is always on 
the last syllable. Gr. 490. 

54. Whiles. See on ii. 7. 128 above. Chid is the regular past tense of 
chide in S., the participle being chid or chidden. 

55. Prayers. A dissyllable ; as often. Gr. 478. 

58. By 'him seal up, etc. That is, send a sealed letter by him to let 
me know, etc. 

59. Kind. Nature ; as in A. W. i. 3. 67, etc. Youth and kind seems 
to be = youthful nature or inclination (Halliwell). 

61. Make. Earn (Steevens and Schmidt). Cf. M.for M. iv. 3. 7 : " he 
made five marks, ready money." 

68. Instrttment. Cf. Ham. iii. 3. 380-389 : " You would play upon 
me," etc. 

70. Snake. Often used in this contemptuous way (Malone). Cf. Sir 
John Oldcastle, 1600 : "And you, poor snakes," etc. Halliwell adds 
many similar examples. 

76. Purlieus. A technical term for the borders of a forest ; used by 
S. only here. Reed quotes Manwood, Treatise on the Forest Laws, c. xx. : 
" Purlieu ... is a certaine territorie of ground adjoyning unto the forest, 
meared and bounded with immoveable marks, meeres, and boundaries." 
Cf. Milton, P. L. iv. 404 : " In some purlieu two gentle fawns at play," 
etc. 

78. Bottom. Valley, dale. Cf i Hen. IV. iii. i. 105 : "so rich a bot- 
tom ;" Milton, Comus, 532 : " the hilly crofts That brow this bottom- 
glade," etc. So bottom-grass in V. and A. 236=grass growing in a deep 
valley. 

84. Description. Quadrisyllable. See on i. 2. 247 above. 

86. Favour. Look, aspect. Cf. ill-favoured, iii. 5. 53 above, and see 
y.Cp.131. 

Bestows himself. Deports or conducts himself. Cf K. John, iii. i, 225, 
2 Hen.IV.u. 2. 186, etc. 

87. Pipe. Elder, mature. Low ~s\\oxt of stature; as in Much Ado, 
i. I. 173, iii. I. 65 (where it is opposed to " tall "), M. N. D. iii. 2. 295-305, 
etc. 

93. Napkin. Handkerchief, as is evident from 97 just below. Cf. Z. C. 
15 ; "Oft did she heave her napkin to her eyne ;" and 0th. iii. 3. 290, 
where Emilia says " I am glad I have found this napkin," and immedi- 
ately after (306) to lago, " What will you give me now For that same 
handkerchief?" 

97. Handkercher. The folio spelling, indicating the pronunciation. In 
0th. the quarto has " handkercher," the folio "handkerchief" 

100. An hour. Hanmer substituted " two hours" (cf iv. i. 160). 

loi. Food. Commonly quoted " cud," which St. reads ; but S. does 
not use the word. Even the all-meddlesome Coll. MS. leaves /wc/ un- 
disturbed. 



ACT IV. SCENE III. 191 

Sweet and bitter fancy. Malone quotes Lodge's irovel : " Wherein 1 
have noted the variable disposition of fancy, that lyke the polype in col- 
ours, so it changethjnto sundry humors, being as it should seeme, a com- 
bat niixt with disquiet, and a bitter pleasure wrapt in a sweet prejudice, 
lyke to the synople tree, whose blossomes delight the smell, and whose 
fruit infects the taste." 

102. Threw his eye. Cf. R. of L. 1499, M.for M. v. i. 23, K. John, iii. 3. 
59, etc. 

104. An oak. The folio has *' an old Oake," but it is not likely that 
S. would crowd the line with an adjective implied in age and atitigitity. 
It reminds us of a line in an ambitious college poem which read " In the 
old days of ancient yore." 

108.' Gilded. Schmidt notes that S. uses gilded twenty times and gilt 
only six times. 

109. Her. There is here a confusion of genders, as in Macb. iii. 2. 13 : 

"We have scotch'd the snake, not kill'd it; 
She '11 close and be herself, whilst our poor malice 
Remains in danger of her former tooth." 

There is no clear case in S. of her as the possessive of it. Cf. Gr. 228, 
229. 

112. Indented. Sinuous, winding. Cf. V. and A. 704: "Turn and 
return, indenting with the way." Milton, like S., has the word twice. 
See Vac. Ex. 94 : 

" Or Trent, who, like some Earth-born giant, spreads 
His thirsty arms along the indented meads ;" 

and P. L. ix. 496 (of the serpent) : 

"not with indented wave, 
Prone on the ground, as since." 

114. With udders, etc. "And therefore fierce with hunger" (Wr.). 
Qi. Lear,\\\. I. 12: "the cub-drawn bear." Steevens quotes Arden of 

Fever sham, 1592 : 

the starven lioness 
When she is dry-suckt of her eager young." 

116. Should. See Gr. 326 ; and for as in 118 (cf. 12 above) Gr. 115. 

Douce quotes what Batman {upon Barihol. xviii. 65) says of lions : 
" Also their mercie is known by many and oft ensamples : for they spare 
them that lye on the ground." See also Lodge's novel, p. 130 above. 

122. Render. Describe, report. Cf. 2 Hen. IV. i. i. 27 : " rendered 
me these news for true;" Hen. V. \. I. 44: "A fearful battle render'd 
you in music," etc. 

125. To. With regard to. Cf. T. of S. ii. i. 334, A. W. iv. 3. 276, etc. 

131. Hurtliiig. Din of conflict. Cf. J. C. ii. 2. 22 : "The noise ot 
battle hurtled in the air ;" Spenser, F. Q. i. 4. 40 : " Therewith they gan 
to hurtlen greedily ;" Id. i. 8. 17 : " Came hurtling in full fiers, and forst 
the knight retyre ;" Gray, Fatal Sisters : 

" Iron sleet of arrowy shower 
Hurtles in the darken'd air," etc. 

134. Contrive. Plot. See on i. i. 131 above ; and cf. M. N. D. iii. 2. 
196, etc. 



192 NOTES. 

135. Do not shame. Am not ashamed. Cf. C. ofE. v. i. 322 s "Thou 
sham'st to acknowledge me in misery ;" Macb. ii. 2. 64 ; 

" My hands are of your colour, but I shame 
To wear a heart so white;" 

and Spenser, F. Q. ii. 12. 23 : 

*'Most ugly shapes and horrible aspects, 
Such as Dame Nature selfe mote feare to see, 
Or shame that ever should so fowle defects 
From her most cunning hand escaped bee." 

138. For. As regards. Cf. v. 4. 64 : " But, for the seventh cause," 
«tc. 

By and by. Presently, soon. Cf. Hen. V. ii. 2. 2, and see note in our 
ed. p. 155. 

140. Recounfments. Relations, narratives ; used by S. only here. 

141. As. As for instance. Cf ii. i. 6 above. 

149. In fainting. See Gr. 161. 

150. Brief. "In brief" (142 above). Cf K. John, v. 6. 18 and Pev. 
iii. prol. 39. Recover'' d=xt^\.ox^di ; as in TemJ>. ii. 2. 71, 79, 97, (V. T. iv. 
4.815, etc. 

151. Being strojtg at heart. " Having now recovered from his faint " 
(M.). 

155. His. The reading of the later folios ; the ist has " this," which 
some eds. retain. 

159. Cousin Ganymede. Halliwell prints "Cousin — Ganymede!" fol- 
lowing Johnson, who says : " Celia, in her first fright, forgets Rosalind's 
character and disguise, and calls out cousin, then recollects herself, and 
says, Ganymede." But cousin is probably used loosely, as explained on 
i. 3. 40 above. 

165. Ak, sirrah. *' On recovering herself, Rosalind immediately re- 
sumes her boyish sauciness, and a little overdoes it" (W.). Schmidt 
explains it thus ; " Sometimes forming part of a soliloquy and addressed 
to an imaginary person, or rather to the speaker himself (always pre- 
ceded by a/i)." Cf 2 Hen. IV. v. 3. 17 and R. and J. i. 5. 31, 128. Pope 
changed sirrah to " sir." See Macb. p. 236, note on sirrah. 

M., who prints "sirra," remarks: "A similar form seems still in use 
in America (without any notion of upbraiding)." He apparently refers 
to the vulgar "sirree," which is of very recent origin and of course has 
no connection with sirrah. 

A body. As Halliwell notes, the term was formerly used in this way 
in serious composition. Cf M.for M. iv. 4. 25, etc. Wr. quotes Psalm 
liii. I (Prayer-Book version) : " The foolish body hath said in his heart." 

J. 69. Of earnest. In earnest. Cf i. 2. 23, i. 3. 26, and iv. i. 171 above. 

171. Take a good heart. S. does not elsewhere use the article in this 
and similar phrases. Cf A. and C. v. i. 56 : " Bid her have good heart ;" 
y. C. iv. 3. 28B : " I have taken heart," etc. 

175. Draw homewards. Come home. We still use draw near^ but 
not = come in, enter, as in Temp, v. i. 318, A. W, iii. 2. loi, and T, of A, 
ii. 2. 46. 



ACT V, SCENES I. AND II. j^j 

ACT V. 

Scene I. — lo. // is meat and drink to me. A common proverbial ex- 
pression. Cf. M. W. i. I. 306: "That's meat and drink to me, now." 
Halliwell gives many examples from other writers of that day. 

1 1. We shall be flouting. " We must have our joke " (Wr.;. For shall^ 
cf. i. I. 118 above ; and (or flouting, iii. 3. 94. 

14. God ye good even. That is, God give you good even. Cf. R. and y. 
i. 2. 58 : " God gi' good-den " (" Godgigoden " in the folio), and Hen. V. 
iii. 2. 89 : " God-den," etc. 

47. Female. Touchstone, like many of his kindred now, prefers fe- 
viale to the " common " woman. See M. N. D. p. 171, note on Fetnales. 

53. Bandy. Contend, strive. Cf T. A. i. i. 312 : "fit to bandy with 
thy lawless sons." See also R. and J. iii. i. 92 and i Hen. VI. iv. i. 190. 

57. God rest you merry. God keep you merry. Cf. R. and J. \. 2. 65 : 
"rest you merry !" For similar forms, see M. of V, i, 3. 60, M./or M, 
IV. 3. 186, A. and C. i. I. 62, etc. 

58. Seeks. See Gr. 336. 

Scene II. — i. Is'' t possible, t-io.. As Steevens remarks, the poet seems 
to be aware that, in varying from the novel here (see p. 13 1, foot-note), 
he makes the passion of Celia appear rather hasty. 

3. Fersever. The word was so spelt in the time of S. and accented on 
the penult. Cf A. W. iv. 2. 36, 37, and see M. N. D. p. 166. On tvooing, 
see Gr. 378. 

6. Of her. Cf Hen. V. ii. 4. 50 :_ " The kindred of him," etc. Gr. 225. 

7. Her sudden. The her is not in the folio ; added by Rowe. 

1 1. Estate. Cf Temp. iv. i. 85, etc. We find " estate unto " in M. N. D. 
\. I. 98. 

14. And all V contented followers. M. remarks that this seems to mean 
"all his followers who' will be kind enough to favour us." 

17, And you, fair sister. Johnson would read " your fair sister ;" but 
as Chamier suggested, Oliver addresses her m her assumed character 
of a woman courted by Orlando. W. thinks that Oliver knows Rosa- 
lind's sex, having been informed of it by Celia, whom he has wooed and 
won since the end of the last act ; " for to suppose that she kept Rosa- 
lind's secret from him one moment longer than was necessary to give 
her own due precedence would be to exhibit an ignorance in such mat- 
ters quite deplorable." Let the reader judge. 

25. Hajidkercher. See on iv. 3. 97 above. 

26. And greater wonders, etc. Gervinus thinks that Oliver discovered 
the sex of Rosalind by her fainting, and told Orlando of it; but we can- 
not agree with him. 

28. / know whej-e you are. That is, what you hint at, what you mean. 
C£ Lear, iv. 6. 148 : " O, ho, are you there with me ?" 

30. Thrasonical. Boastful ; from Thraso, the bragging soldier in the 
Eunuchus of Terence. It is not necessary to suppose that S. had read 
Terence, -for the word was already in use. Halliwell quotes several ear* 
lier instances of it ; as Orlando Furioso, 1594 : " a Thrasonical, mad cap/ 



XQ4 NOTES. 

etc. S. uses it again in Z. Z. Z. v. i. 14. For the reference to Csesar, 
cf. Cymb. iii. I. 24. 

36. Incontinent. Immediately. Cf. Rich. II. v. 6. 48 : " put on sullen 
black incontinent," etc. 

37. Wrath. Passion, ardour. 

38. Clubs. *' Clubs !" was the rallying cry of the London apprentices, 
who used their clubs to put an end to a public disturbance, or sometimes 
(cf. He7t. VIII. V. 4. 53) merely to join in one. See R. and J. i. i. 80. 
Malone aptly quotes T. A. ii. i. 37 : " Clubs, clubs ! these lovers will not 
keep the peace." 

40. Nuptial. S. uses the singular except in Per. v, 3. 80. In 0th. ii. 
2. 8 the quartos have the plural. See Temp. p. 143, note on The nuptial ; 
and cf J. C. p. 183, note on His funerals. 

41, By so much . . . by how mtuh^ etc. Cf for the same arrangement 
of clauses, Rich, III. ii. 2. 126 : 

" Which would be so much the more dangerous, 
By how much the estate is green and yet ungovern'd;'* 
for the inverse order, R". John, ii. i. 80 and i Hen. IV. \. 2. 234 See 
also iii. 3. 55 above. 

50. Of good conceit. Of good intellect. Schmidt thinks it may mean 
"birth," since it would need no magician to see that he was a man of 
good mental capacity. For conceit in this latter sense, cf. M. ofV. i. i. 
92 : " wisdom, gravity, profound conceit ;" 2 Hen. IV. ii. 4. 263 ; " there 's 
no more conceit in him than is in a mallet," etc. 

51. Insomuch. Seing that, since ; used by S. nowhere else. 

54. Grace me. Gain me credit. Cf Hen. V. iii. 6. 71 : "goes to the 
wars, to grace himself on his return," etc. See also i. i. 135 above. 

56. Thi-ee year. See on iii. 2. 298 above. 

Conversed. Been acquainted or associated with. Cf, T. G. of V. ii. 4. 
63, Rich. III. iv. 2. 28, etc, 

57. N'ot damnable. Not deserving the penalty usually meted out to 
his craft. By an act of the time of Elizabeth, death without benefit of 
clergy was the punishment for the practice of witchcraft whereby death 
ensued ; imprisonment and the pillory for minor forms of the crime. An 
act of James I. repealing this made death the penalty for invoking evil 
spirits or practising witchcraft at all. 

58. Gesture. Bearing, behaviour. Cf Oth. iv. i. 88: "mark his gest- 
ure ;" Id. iv. I. 142 : "his gesture imports it," etc. For it in cries it otii, 
see on i. 3. 120 above. 

61. Inconvenient. Disagreeable ; used by S. only here. 

62. Human as she is, etc. " That is, not a phantom, but the real Ros- 
alind, without any of the danger generally conceived to attend the rites 
of incantation " (Johnson). 

65. Tender dearly. Hold dear, value highly (though I risk it by con 
fessing myself a magician). Cf R.andJ. iii. i. 74: "which name I ten- 
der As dearly as my own;" Ham. i. 3. 107: "Tender yourself more 
dearly," etc. For the reflexive use oi you m next line, see Gr. 223. 

69. Lover. For the feminine use, see on iii. 4. 39 above. 

70. Ungentleness. Unkindness ; used nowhere else by S. 



ACT V. SCENE III. 1 95 

75. Him. The word is emphatic, as the measure shows. Gr. 483. 

87. Fantasy. See on ii. 4. 27 above. 

89. Ditiy and observance. Respect and homage. Cf. M. W. ii. 2. 203 : 
"followed her with a doting observance," etc. 

In line 91 the folio repeats "^observance," which is obviously an error. 
Coll. (following his MS.), D., and W. substitute "obedience" in 87 ; but 
we prefer to put it, as Mai one does, in 89. It is urged in favour of the 
former arrangement that "obedience" goes better with "adoration and 
duty" than with "purity and trial;" but the same may be said of "ob- 
servance." On the other hand, when we find a word repeated in this 
way, it is probably an accidental repetition in setting the type, the com- 
positor having his eye or his thoughts on the word he has just set. 

Other emendations proposed in 89 are " obeisance " (which S. uses 
only in T. of S. ind. I. 108: "do him obeisance"), "endurance" (which 
he has three times in the sense of suffering, or sufferance), "deservance" 
(which he does not use at all), " perseverance " (as it is accented by S.), 
and " devotion." The last two are plausible, but no more so than " obe- 
dience," which the poet uses oftener than either. 

96. To love. For the infinitive, see Gr. 356. 

99. Why, etc. Some editors adopt Rowe's " Who do you speak to," 
etc. ; but' no change is really called for. Speak— s^cj ; as in 2 Hen. IV. 
iv. 2. 16, Macd. iv. 3. 154, etc. Orlanjdo's reply is = Because I speak to 
her, etc. 

loi. Nor doth not. See f^i. 3. 50 above, and cf. v. 4. 82 below. Gr. 
408. / 

102. Like the howling, etc. /Cf. M. N. D. v. i. 379 : " And the wotf-be- 
howls the moon." See also y>€. iv. 3. 27. In Lodge's novel we find the 
expression, " thou barkest with the wolves of Syria against the_ moone." 
There were wolves in Ireland down to the beginning of the eighteenth 
century. 

Scene III.— 4. Dishonest. Immodest. Cf. Hen. V. i. 2. 49 : "dishon- 
est manners," etc. See also honest in i. 2. 34 and iii. 3. 22 above. 

To be a woman of the world. That is, a married woman, Cf. Much 
Ado, ii. I. 331 : "Thus goes every one to the world but I, and I am sun- 
burnt : I may sit in a corner and cry heigh-ho for a husband !" A. W. i. 3. 
20 : " If I may have your ladyship's good will to go to the world, Isbel 
the woman and I will do as we may." 

7. By my troth. See on i. 2. 79 above. 

10. Clap into't roundly. Set about it at once. Cf. M.for M. iv. 3. 
43 : "I would desire you to clap into your prayers ; for, look you, the 
warrant 's come." See also Much Ado, iii. 4. 44. For roundly — 2X once, 
without ceremony, cf. T. of S. i. 2. 59, Rich. II. ii. I. 122, etc. ; and note 
the use oi round— \A\.\\\X., unceremonious, in T. A. ii. 3. 102, Hen. V. iv. I. 
216, etc. 

12. The only prologties. Only the prologues. Cf. i. 2. 173 above. 
Capell conjectured "only the," and W. reads "your only." ^ Wr. quotes 
a parallel instance from Sidney, Arcadia : " Gynecia, who with the onely 
bruze of the fall, had her shoulder put out of ioynct." 



196 NOTES. 

13. A tune. One tune. See Gr. 81. 

15. In the folio the last stanza is made the second. The arrangement 
here given is found in the earliest copy of the song with musical notes, 
printed in Morley's First Book of Ayres, or little short Songs to sing and 
play to the Lute, 1600 ; also in a MS. copy made certainly before 1639, 
and preserved in the Advocates' Library at Edinburgh. 

16. With a hey, etc. In the preface to his Ghostly Psalms (quoted by 
Wr.) Coverdale refers to these meaningless burdens of songs : "And if 
women, sitting at their rocks, or spinning at the wheels, had none othet 
songs to pass their time withal, than such as Moses' sister, Glehana's 
[Elkanah's] wife, Debora, and Mary the mother of Christ, have sung be- 
fore them, they should be better occupied than with hey nony nony^ hey 
troly loly, and such like phantasies." 

18. King titne. The reading of the Edinburgh MS. ; the folio has 
"rang time." Schmidt explains it as "time of exchanging rings, of 
making love ;" others, time for marriage. 

21. Acres. Fields ; as in Temp. iv. i. 81, i Hen. IV. i. i. 25, etc. 

33. Matter. Sense. Cf ii. i. 68 above. 

34. Untimeable. Inharmonious, discordant (Schmidt), Cf. T.G.ofV. 
iii. I. 208 : " harsh, untuneable, and bad." See also tuneable in M. N. D. 
i. I. 184 and iv. i. 129. Theo. substituted "untimeable" (a word not 
found in S.), which W. adopts. Schmidt remarks that it is "more logi- 
cal indeed, but not to the improvement of the jest." Untuneable agrees 
better with what Touchstone afterwards says, " God mend your voices !" 
The page mistakes the point of the criticism, perhaps intentionally. 

Scene IV. — 4. As those that fear, etc. That is, whose hopes are min- 
gled with fear, and only their fears certain. That this is the general 
meaning is evident from the preceding line. No less than twelve " emen- 
dations " are noted in the Camb. ed. Delius adopts Henley's, which 
merely changes the pointing : " As those that fear ; they hope, and know 
they fear." This is bad enough, but most of the dozen are worse. As 
" a similar jingle " Halliwell quotes M.for M. v. i. 203 : 

"Who thinks he knows that he ne'er knew my body. 
But knows, he thinks, that lie knows Isabel's. 

5. Whiles. See on ii. 7. 128. Compact is accented by S. on the last 
syllable except in i Hen. VI. v. 4. 163. Cf. Gr. 490. 

18. Make all this matter even. Or, as we now say, " make it all straight." 
So, just below, make these doubts all ^w;^= reconcile them, clear them up. 
Steevens quotes M.for M. iii. i. 41 : 

" Yet death we fear, 
That makes these odds all even.*' 

In A. W.W. I. 194, " will you make it even ?" = will you make it good ? 

22. To wed. For the infinitive, see Gr. 416. 

27. Lively. Lifelike. Wr. quotes T. of A. i. I. 38 : " Livelier than 
life." Yox favour, see on i. 2. 35 above. 

32. Desperate. " Forbidden by law " (Schmidt). 

34. Obscured. Hidden ; as in i, i. 63 above. Cf M.forM. v. i. 395 : 
" why I obscured myself," etc. 



ACT V. SCENE JV, 197 

35. Toward. At hand, coming. Cf. M. N. D. iii. i. 83 : ** a play 
toward;" T. of S. v. i. 14: "some cheer is toward," etc. Towards is 
used once in the same sense, in R. and J. i. 5. 124. 

39. Good my lord. See on i. 2. i above. 

42. Pict me to my purgation. Challenge me to prove it. Purgation 
properly = exculpation ; as in i. 3. 51 above. Cf. W. T. iii. 2. 7 : "the 
guilt or the purgation," etc. 

43. A measure. A formal court dance. Cf. Much Ado, ii. i. 80 : "a 
measure, full of state and ancientry." See also Rich. II. i. 3. 291, etc. 

45. A}id like. And had like, or was likely. Cf. Much Ado. v. I. 115 : 
" We had like to have had our two noses snapped off;" W. T. iv. 4. 750 : 
*' Your worship had like to have given us one," etc. Schmidt makes 
like a noun here. Cf had as lief (^. I. 133) and //y^^=likely (i. 2. 15). 
Like is still vulgarly used in this way, at least in New England. 

47. Ta'en up. Made up. Cf T. N. iii. 4. 320 : " I have his horse to 
take up the quarrel," etc. 

53. God ''ield you. See on iii. 3. 66 above. On I desire you of the like, 
cf. M. N. D. iii. i. 185 : "I shall desire you of more acquaintance," and 
see note in our ed. p. 160. 

54. Copidatives. Candidates for marriage. 

56. Blood. Passion. Cf Much Ado, ii. i. 187 : 
"for beauty is a witch 
Against whose charms faith meltetli into blood ;'* 

and Id. ii. 3. 170 : " O my lord, wisdom and blood combating in so tender 
a body, we have ten proofs to one that blood hath the victory." 
Ill-favoured. Cf iii. 5. 53 above, and see on i. 2, 35. 

58. Honesty. See on v. 3. 4 above. 

59. You7'. See on iii. 4. 1 1 above. 

60. Swiff. Ready, quick. Cf iii. 2. 260 : " a nimble wit." Senten' 
tious^="' full of pithy sayings " (Wr.) Cf L. L. L. v. i. 3. 

62. ThefooPs bolt. Cf Hen. V. iii. 7. 132 : "A fool's bolt is soon shot." 
A bolt was a blunt-headed arrow. 

63. Such dulcet diseases. Schmidt explains this as "sweet mortifica- 
tions." Walker considers it a continuation of what Touchstone has just 
said of "your pearl in your foul (diseased) oyster." Attempts have been 
made to mend the fool's talk by changing diseases to "discourses," "dis- 
cords," or "phrases." 

67. Seeming. Seemingly, becomingly. Gr. i. For as, see Gr. 113; 
and cf ii. i. 6 above. 

On dislike^ Warb. quotes B. and F., Queen of Corinth, iv. i : 

" Has he faniiharly 
Dislik'd your yellow starch, or said your doublet 
Was not exactly frenchified? or that, that report 
In fair terms was untrue? or drawn your sword. 
Cried 't was ill-mounted? has lie given the lie 
In circle, or oblique, or semi-circle, 
Or direct parallel? you must challenge him." 

72. Quip. A sharp jest, or sarcasm ; or, as Lyly defines it in his Cam^ 
paspe, " a short saying of a sharp wit, with a bitter sense in a sweet 
*ford." Cf T. G. of V. iv. 2. 12, M. W. i. 3. 45, Much Ado, ii. 3. 249, etc. 



I9S 



IvoteS. 



See also Milton, VA/L 27 : " Quips and cranks and wanton wiles ;*' Spell- 
ser, Mother Hiibberds Tale, 709 : " And with sharp quips joy'd others to 
deface," etc. Spenser has it as a verb ( —jeer, taunt) in F. ^. vi 7. 44 : 
" The more he laughes, and does her closely quip." 

73. Disabled. Disparaged. See on iv. I. 31 above. 

77. Lied. Capell's correction of the " lie " of the folio. 

Countercheck. Check ; as in chess. S. uses the word again in K. Johny 
ii. I. 224: "A countercheck before your gates." 

84. Can you nominate, etc. " Did you invent all this on the spur of the 
moment, or was it really a quotation such as you can repeat over again ?'' 
(M.). 

86. By the book. As Warb. notes, S. doubtless refers here to a book 
by Vincentio Saviolo, printed in 1594. It is entitled " Vincentio Saviolo 
his Practise. In two Bookes. The first intreating of the vse of the 
Rapier and Dagger. The second, of Honor and honorable Quarrels." 
The second book contains " A Discourse most necessarie for all Gentle- 
men that haue in regarde their honors touching the giuing and receiuing 
of the Lie, wherevpon the Duello & the Combats in diuers sortes doth 
insue, & many other inconueniencies, for lack only of the true knowledge 
of honor, and the contrarie : & the right vnderstanding of wordes, which 
heere is plainly set downe, beginning thus." The subject is treated under 
the following heads : " Of 'he manner and diuersitie of Lies ;" " Of 
Lies certaine ;" " Of conditional! Lyes;" "Of the Lye in generall ;" 
" Of the Lye in particular ;" " Of foolish Lyes." The chapter " Of con- 
ditionall Lyes," which seems to correspond to Touchstone's " Lie cir- 
cumstantial," begins thus : " Conditionall lyes be such as are giuen 
conditionally : as if a man should sale or write these woordes. If thou 
hast saide that I haue offered my Lord abuse, thou lyest : or if thou saiest 
so heerafter, thou shalt lye. And as often as thou hast or shalt so say, 
so oft do I and will I say that thou doest lye. Of these kinde of lyes 
giuen in this manner, often arise much contention in words, and diuers 
intricate worthy battailes, multiplying wordes vpon wordes whereof no 
sure conclusion can arise." The author warns his readers " by all meanes 
possible to shunne all conditionall lyes, neuer geuing anie other but cer- 
tayne Lyes : the which in like manner they ought to haue great regarde, 
that they giue them not, vnless they be by some sure means infallibly 
assured, that they giue them rightly, to the ende that the parties vnto 
whome they be giuen, may be forced' without further Ifs and Ands, either 
to deny or iustifie, that which they haue spoken." 

87. Books for good manners. There were many such in the time of S., 
and indeed at a much earlier date. Halliwell mentions one published by 
Wynkyn de Worde in 1507, the colophon of which reads : " Here endeth 
and fynysshed the boke named and Intytled good maners. Emprynted 
at London in y^ Flete Strete at the sygne of the Sonne by Wynken de 
Worde. In y« yere of our Lorde, M'. CCCCC. and vii. The x. daye of 
December," etc. There was an earlier edition printed by Pynson in 
1494, stated to be "finyshed and translated out of Frenshe into Englissh 
the viij. day of June in the yere of oure Lorde i486." Pynson also print- 
ed another book entitled " the myrrour of good maners," etc., translated 



ACT V. SCENE IV. 199 

from the Latin by Alexander Bercley, " prest and monke of Ely." The 
work which S. may have had immediately in mind was " A lytle Booke of 
Good iNlaners for Chyldren with interpritation into the vulgare Englysshe 
tongue by R. Whiltinton, Poet Laureat," printed at London in i^J-t. 
Overbury, in his Characters, 1626, says : "A fine gentleman is the cyn- 
namon tree, whose barke is more worth than his body. Hee hath reade 
the Booke of Good Manners, and by this time each of his limbs may rea(^ 
It." Osric's "card or calendar of gentry" [Hani. v. 2. 114), ascribed by 
Wr. to Hamlet, may allude to the title of some such book. 

97. Swore brothers. Like \\i^ fratres jurati, who took an oath to share 
each otlier's fortunes. Cf Rich. II. v. i. 20, and see note in our ed. p. 208. 
See also Much Ado, i. i. 73, i Hen. IV. ii. 4. 7, and 2 Hen. IV. iii. 2. 345. 

loi. A stalking-horse. A horse, or the figure of one, behind which 
sportsmen approached their game. Cf Mnch Ado, ii. 3. 95 : " Stalk on, 
stalk on; the fowl sits." Steevens quotes T)X2c^\.ox\,Polyolbion: "One 
underneath his horse to get a shoot doth stalk ;" and Nares cites The 
Malcontent: "A fellow that makes religion his stalking-horse." 

102. F^-esentation. Semblance ; used by S. only here and in Rich. III. 
iv. 4. 84 : " The presentation of but what I was." 

103. Still music. Soft music. The folio has the stage-direction '■'■ Mu- 
sick still " in M. N. D. iv. i. 80. Cf " stilly sounds " in Hen. V. iv. prol. 5, 
and see note in our ed. p. 171. 

105. Atone together. Are at one, or agree together. Cf Cor. iv. 6. 72 : 
" He and Aufidius can no more atone," etc. It is used transitively {=-- 
make at one, reconcile) in Rich. II. i. I. 202 and 0th. iv. i. 244. 

109. Her hand. The ist and 2d folios have "his hand;" and in the 
next line all the folios have " his bosom," which Wr. retains. Halliwell 
follows Caldecott in retaining " his " in both cases, on the ground that 
Rosalind is still in masculine dress. On no cf Z. Z. Z. v. 2. 826 : 
" Hence ever then my heart is in thy breast ;" Rich. III. i. 2. 205 : " Even 
so thy breast encloseth my poor heart ;" and V. and A. 582 : 

"her heart. 
The which, by Cupid's bow she doth protest, 
He carries thence incaged in his breast." 

125. If truth holds true contents. "If truth contains truth, if the pos- 
session of truth be not imposture " (Caldecott). 

126-13 1. The reader will have no difficulty in distributing these lines 
among the four couples. 

128. Accord. Agree, consent. Cf T. G. ofV. i. 3. 90, Hen. V. ii. 2. 86, 
etc. 

130. Sure. " Indissolubly united " (Schmidt). Cf M. W. v. 5. 237 : 

"Tlie truth is, slie and I, long since contracted, 
Are now so sure that nothing can dissolve us." 

134. Thai reason, etc. " That the facts when stated may diminish 
wonder" (M.). 

135. Finish. Intransitive ; as in i Hen. VI. iii. I. 201 : " His days may 
finish ere that hapless time." 

136. Wedding is great 'Juno''s crown, etc. W. remarks : " Both the 
thought and the form of the thought in this Song seem to me as unlike 



200 NOTES. 

Shakespeare's as they could well be, and no less unworthy of his genius ; 
and for the same reasons I think it not improbable that the whole of 
Hymen's part is from another pen than his." We are inclined to agree 
with him; and it may be noted also that lines 120-141 make an awk- 
ward break in the dialogue, which would run along very naturally with- 
out them. 

139. High wedlock^ etc. That is, let it be highly honoured, as the next 
line shows. 

143. Theo. and some modern editors read "daughter-welcome." 
145. Fancy. Love. See on iii. 2. 339 above. Combine = \y\\-\di -, as in 
M.forM. iv. 3. 149 (quoted by Steevens) : "I am combined by a sacred 
vow." 

151. Addressed. Prepared. Cf. Hen. V. iii. 3. 58 : " To-morrow for the 
march are we address'd." See also J. C. p. 156. 

Power— 2Lxm^. S. uses both the singular and the plural in this sense, 
as we diO force zwdi forces. Cf. J. C. iv. 3. 169 : " with a mighty power ;" 
and Id. iv. 3. 308 : " Bid him set on his powers," etc. 

152. In his own conduct. Led by himself. Cf. K. "John, iv. 2. 129: 
" Under whose conduct came those powers of France V Cymb. iv. 2. 
340 : " Under the conduct of bold lachimo," etc. 

155. Religions. See on iii. 2. 322 above. 

156. Qnestio7i. See on iii. 4. 32 above ; and for the ellipsis of the sub- 
ject in zvas converted, Gr. 400. 

159. Restored. Being restored; or "were" may be understood (Gr. 
403). For thejn the folios have "him ;" corrected by Rowe. 

160. ExiVd. S. puts the accent on either syllable. Cf. R. and J. iii. 
2. 133 and Macb. v. 8. 66. See Gr. 490 ; and for to be trtte, Gr. 354. 

161. Engage. Pledge. Cf. i Heji. IV. ii. 4. 563 : " I will engage my 
word to thee ;" J. C. ii. i. 127 : "honesty to honesty engaged," etc. 

162. Offer' st fairly. Makest a goodly offering or contribution. 

163. To the other. Through his marriage with Rosalind. 

164. At large. " In its length and breadth " (M.) ; or " on a large 
scale " (Schmidt). Cf. T. and C. i. 3. 346 : 

"'I'lie baby figure of the giant mass 
Of things to come at large." 

165. Do those ends, etc. Finish up the work so well begun. 

167. After. Afterwards ; as in Temp. ii. 2. 10: "And after bite me," 
etc. 

For every, cf. A. and C. i. 2. 38 : "every of your wishes." Wr. quotes 
Bacon, Essay xv. : " For the Motions of the greatest persons, in a Gov- 
ernment, ought to be, as the Motions of the Planets, vnder Frimnm Mo- 
bile ; (according to the old Opinion :) which is, That Every of them, is 
carried swiftly, by the Highest Motion, and softly in their owne Motion." 
It is curious that every is the only one of these so-called " adjective pro- 
nouns " which we do not now use in this way. We can say " any of 
them," "each of them," etc., but not "every of them." 

168. Shrezvd. Evil. Cf. Hen. VIII. v. 3. 178 : "a shrewd turn " (that 
is, an ill turn) ; and see Mer. p. 151 or J. C. p. 145. 

170. States. Estates ; but not to be printed "'states," as W. gives it. 



ACT F. EPILOGUE. 20t 

Cf. M. of V. iii. 2. 262 : " my state was nothing ;" i Hen. IV. iv. i. 46 : 
"the exact wealth of all our states," etc. On the other hand, estate was 
sometimes = state, condition ; as in M. of V. iii. 2. 239 : " liis letter there 
Will show you his estate," etc. Cf. Gen. xliii. 7, Ps. cxxxvi. 23, etc. 

171. New-fallen. Cf. i Hen. IV. v. I. 44 : "your new-fallen right." 
For /t///— befall, see A. and C. iii. 7. 40 : " no disgrace shall fall you," etc. 

174. Measures. See on 43 above. 

175. By your patience. With your permission. Cf. Hen. V. iii. 6. 31, 
Cor. i. 3. 81, etc. So " with your patience ;" as in i Heji. VI. ii. 3. 78, etc. 

177. Pompous. Full of pomp, splendid. Qi. Rich. II. \v.\. 2,^0: "the 
pompous body of a king;" Per. iii. prol. 4: "this most pompous mar- 
riage-feast." It now carries with it the idea of ostentatious display. 

179. Convertites. Converts; a word not used by S. Qi. K.John^v. 
I. 19 : " a gentle convertite ;" and R. of L. 743 : " a heavy convertite." 

180. Matter, See on ii. i. 68 above. 

181. You to your former honour, etc. That is, bequeath your former 
honour to you. Schmidt (p. 1424) gives many examples of this inversion 
of ideas in S. Cf. Much Ado, v. i. 282 : " Impose me to what penance ;" 
Rich. II. iv. I. 106 : " Till we assign you to your days of trial ;" Macb. v. 
8. 49 : "I would not wish them to a fairer death," etc. 

182. Deserves. For the singular, see Gr. 336, 

193. Steevens remarks that S. has here forgotten old Adam, "whose 
fidelity should have entitled him to notice at the end of the piece, as well 
as to that happiness which he would naturally have found in the return 
of fortune to his master." Lodge, at the end of the novel, makes him 
captain of the king's guard. 

EPILOGUE. 

2. Unhandsome. Improper, unbecoming. 

3. Good wine needs no bush. A common proverb. A bush or tuft of 
ivy was in olden time the sign of a vintner. Steevens quotes Gascoigne, 
Glass of Government, 1575 : "Now a days the good wyne needeth none 
ivye garland." Wr. cites Florio, Second Erittes, p. 185 : " Womens beauty 
... is like vnto an luy bush, that cals men to the tauern, but hangs itselfe 
without to winde and wether." Cotgrave {Fr. Diet.) has " Bouchon : m. 
A stopple ; also, a wispe of strawe, &c., also, the bush of a tauerne, or 
alehouse." C£ also Chancers description of the Sompnour, C. T. 668; 

A gerlond liadde he sette upon his hede, 
t'As gret as it were for an alestake." 

7. Insinuate with you. Ingratiate myself with you. Cf. V. and A 
1012 : " With Death she humbly doth insinuate ;" and Rich. III. i. 4 
152 : "he would insinuate with thee but to make thee sigh." 

8. Furnished. Dressed. See on iii. 2. 230 above. 

9. Conjure. Accented by S. on either syllable without regard to the 
meaning. See M. N. D. p. 164. 

II. As please you. As may please you. See Gr. 367. 
14. If I were a woman. Caldecott cites this in support of his opinion 
that Rosalind is still in male apparel (see on v. 4. 109 above) ; but he 



202 ADDENDUM. 

forgets that in the time of S. women never played in the theatres. See 
M. N. D. p. 134, note on Let me not play a zvofnan. Wr. remarks that 
Pepys in his Diary has several allusions to this. The following quota- 
tions are from the new edition by Mr. Bright : 

August, i8th, 1660. "Captain Ferrers took me and Creed to see the 
Cockpitt play, .the first that I have had time to see since my coming 
from sea, ' The Loyall Subject,' where one Kinaston,* a boy, acted the 
Duke's sister, but made the loveliest lady that ever I saw in my life." 

January 3, 1660. "To the Theatre, where was acted 'Beggar's Bush,' 
it being very well done ; and here the first time that ever 1 saw women 
come upon the stage." 

January 8, 1660/1. "After dinner I took my Lord Hinchinbroke and 
Mr. Sidney to the Theatre, and shewed them 'The Widdow,' an indiffer- 
ent good play, but wronged by the women being too seek in their parts." 

Feb. 12, 1660/1. "By water to Salsbury Court play-house, where not 
liking to sit, we went out again, and by coach to the Theatre, and there 
saw ' The Scornfull Lady,' now done by a woman, which makes the play 
appear much better than ever it did to me." 

16. Liked. Pleased. Cf. Heft. V. iii. prol. 32 : " The offer likes not ;" 
Ld. iv. 3. 77 : " Which likes me better," etc. Gr. 297. 

17. Defied. Slighted, despised (Schmidt). Cf. K. John, iii. 4. 23: 
" No, I defy all counsel, all redress," etc. ; also Spenser, F. Q. ii. 8. 52 : 
" Foole ! (sayd the Pagan) I thy gift defye " (disdain, or refuse) ; Four 
Prentices of London (quoted by Nares) : 

" Vain pleasures I abhor, all things defy,_ 
That teach not to despair, or how to die." 

Cf. defiance ~^\^di2:\\\ rejection ; as in M.for M. iii. i. 143, etc- 



ADDENDA. 

The "Time- Analysis" of the Play. — This is summed up by Mr. 
P. A. Daniel {Trans, of New Shaks. Soc. i^l^-l^ p. 161) as follows : 

"The time of this Play may be taken as ten days represented on the 
stage, with such- sufficient intervals as the reader may imagine for him- 
self as requisite for the probability of the plot. 

1. Act L sc. i. 

2. Act L sc. ii. and iii., and Act IL sc. i. [Act IL sc. iii.] 

* This was Edward Kynaston, who was engaged by Sir ^V. Davenant in 1660 to 
perform the prh^cipal female characters. He also played leadu.g male parts Pepys 
under date of January 7, 1660-1, says vwe quote from Lord I'.raybrooke s ed.) ; Tom 
and T and u°y wife to^h'e Theat're, and there saw ' The Silent Woman ' An,ong other 
things liere, Kinaston the boy had the good turn to appear m three shapes: first as a 
poor^woma;! in ordinary clothes, to please Morose; then in fine clothes, as a gallant 
Ld in them was clearly the prettiest woman m the whole house: ff^ lastly as a man 
and then likewise d.d appear the handsomest man in the.house." It was this Kynaston 
who once kent Charles I L waiting for a tragedy, to begin because the queen was not 
Thaved '' He lived until 1712, and was buried in St. Paul's Church^ Covent Garden. 



ADDENDA. 265 

3. Act li.sc. ii* [Actlll.sc. i.] 

An interval of a few days. The journey to Arden. 

4. Act II. sc. iv. 

5. Act II. sc. v., vi., and vii. 

An interval of a few days — as the next scene shows. 

6. Act III. sc. ii. 

An ititerval — indefinite.f 

7. Act III. sc. iii. 

8. Act III. sc. iv. and v., Act IV., sc. i., ii., and iii., and Act V. sc. i. 

9. Act V. sc. ii. and iii. 

10. Act V. sc. iv. 

Two scenes of the Play — Act II. sc. iii. and Act III.sc. i. — are placed, 
within brackets, out of their actual order in this table. The first must 
be referred to day No. 2, the second to day No. 3. Looking to the time 
of the scenes, they are out of place : the author seems to have gone back 
to resume these threads of the story which were dropped while other 
parts of the plot were in hand. 

In a mere narrative this is, of course, a common practice; I am not 
sure that I know of any other instance in a dramatic composition." 

List of Characters in the Play, with the Scenes in which 
THEY Appear. — The numbers in parentheses indicate the lines the 
characters have in each scene. 

Duke : ii. 1(29), 7(51); v. 4(31). Whole no. iii. 

Frederick: i. 2(21), 3(24) ; ii. 2(8) ; iii. i(i6). Whole no. 69 

Amiens : ii. 1(3), 5(30), 7(20). Whole no. 53. 

Jaques: ii. 5(35), 7(100); iii. 2(24), 3(16); iv. 1(18), 2(8); v. 4(34). 
Whole no. 235. 

Le Beau: i. 2(53). Whole no. 53. 

Charles : i. 1(40), 2(5). Whole no. 45. 

Oliver: i. 1(62) ; iii. 1(2) ; iv. 3(80) ; v. 2(10). Whole no. 154. 

Jaqties de Bois : v. 4(17). Whole no. 17. 

Orlando : i. 1(68), 2(40) ; ii. 3(23), 6(16), 7(32) ; iii. 2(62) ; iv. 1(41) ; 
V. 2(29), 4(11). Whole no. 322. 

Adam : i. 1(7) ; ii. 3(54), 6(3), 7(2). Whole no. 66. 

Dennis : i, 1(3). Whole no. 3. 

* '■'' An interval perhaps might be expected between the day of Rosalind's banish- 
ment and the day (No. 3) on which her flight is discovered. The Duke allows her ten 
days for preparation ; but she and her companions would hardly delay so long, and any 
delay at all would throw the scheme of lime utterly out of gear. . . I believe the au- 
thor started them on their journey on the night ensuing the banishment, and made l)a\s 
I, 2, and 3 consecutive- In ]^oA%&^s Rosalyjide, it may be observed, the Duke, who ban- 
ishes his daughter as well as his niece, bids them depart the same night." 

t " During this interval we may imagine the inhabiiants of the forest ' fleeting the time 
carelessly, as they did m the golden world :' the Duke and his fellows hunting, carous- 
ing, and disputing with the melancholy Jaques ; Orlando calling every day at the Sheep- 
cote, wooing his mistress under the disguise of Ganymede ; while Touchstone finds out 
and courts Audrey." 



204 



ADDENDA, 



Touchstone: i. 2(30) ; ii. 4(26); iii. 2(70), 3(76); v. 1(49), 3(11), 4(54). 
Whole no. 316. 

Sir Oliver Martext: iii. 3(5). Whole no. 5. 

Corin: ii. 4(26); iii. 2(37), 4(10) ; v. 1(2). Whole no. 75. 

Silviiis :- ii. 4(19) ; iii. 5(29) ; iv. 3(14) ; v. 2(13), 4(1). Whole no. 76. 

William: v. i(ii). Whole no. 11. 

Hymen : v. 4(24). Whole no. 24. 

1st Lord {Duke) : ii. 1(39), 7(3) ; iv. 2(1). Whole no. 43. 

2d Lord {Duke) : ii. 1(2). Whole no. 2. 

\st T^ord {Frederick^ : ii. 2(4). Whole no. 4. 

2d Lord (^Frederick) : ii. 2(9). Whole no. 9. 

Forester : iv. 2(10). Whole no. 10. 

1st Page : v. 3(31). Whole no. 31. 

2d Page : v. 3(27). Whole no. 27. 

Rosalind: i. 2(63), 3(57) ; ii. 4(26) ; iii. 2(192), 4(22), 5(43) ; iv. 1(153), 
3(74) ; V. 2(74). 4(45)- Whole no. 749. 

Celia: i. 2(93), 3(66); ii. 4(7); iii. 2(72), 4(32); iv. 1(12), 3(22). 
Whole no. 304. 

Phebe : iii. 5(72); v. 2(9), 4(6). Whole no. 87. 

Audrey: iii. 3(12); v. 1(7), 3(4). Whole no. 23. 

*'^//" {^Song): v. 4(6). Whole no. 6. 

In the above enumeration, parts of lines are counted as whole lines, 
making the total of the play greater than it is. The actual number of 
lines ill each scene (Globe edition numbering) is as follows: i. i(i8o), 
2(301), 3(140); ii. 1(69), 2(21), 3(76), 4(100), 5(65), 6(19), 7(203); iii. 
1(18), 2(457), 3(109), 4(62), 5(139); iv. 1(224), 2(19), 3(184); V. 1(69), 
2(135), 3(49). 4(228). Whole no. in the play, 2867. 

Rosalind has more lines than any other of Shakespeare's women. 
Cleopatra comes next, with 670 lines ; then Imogen, M'ith 596 ; Portia 
{M. of v.), with 589 ; and Juliet, with 541, At the other end of the 
list (counting only important female characters) are Miranda, with 142 
lines ; Cordelia, Lady Capulet, and the Queen in Richard II., with 115 
each ; and Portia (/. C.) with 92. In T.of A. the female characters 
have only 15 lines in all. 




INDEX OF WORDS EXPLAINED 



a (transposed), 135. 

a many, 138. 

abused ( — deceived), 183, 

188. 
accord (=consent), 199. 
acres (=:::fields), 196. 
action (trisyllable), 189- 
addressed(=prepared), 200. 
adventure, 158. 
after (^afterwards), 200. 
against, 186. 
ages (of life), 166. 
alack, 189. 
Aliena (accent), 149. 
allotery, 137. 
along (^at full length), 152, 

176. 
am remembered, 184. 
amaze (= confuse), 143. 
an (—if), 185. 
an (=one), 147, 196. 
anatomize, 140, 164. 
and (—an), 182. 
and ( = and so), 165. 
and all at once, 182. 
a-night, 158. 

answered (^satisfied), 165. 
antique, 152. 
apart ( = aside), 189. 
April, 186. 
Arden, 138. 
argument ( = cause), 146, 

169. 
as (=namely), 151, 192. 
as (omitted), 155. 
aspect, 190. 
assayed (=tried), 149. 
at heart, 145. 
at large, 200. 

Atalanta's better part, 172. 
atomies, 175. 
atone together, 199. 
Audrey, 179. 

bandy, 193. 

bankrupt, 154. 

banquet, 161. 

Barbary cock-pigeon, 186. 

batlet. is8. 

Bay of Portugal. 188. 

be naught awhile, 136. 



bear (play upon), 158. 

beard, 167. 

beholding (=beholden), 185. 

bestow (reflexive), 190. 

better, I were, 180. 

better world (:=better times), 

146. 
bid (=bade), 189. 
bills (weapons), 143. 
blood (—kinship), 157. 
blood (=passion), 197. 
blue eye, 178. 

books for good manners, 198. 
bob (==rap), 164. 
body, 192. 
boldened, 165. 
bonnet (=hat), 178. 
bonny, 155. 
bottom (—valley), 190. 
bounden, 146. 
bounds of feed, 160. 
bow (=ox-bow), 380. 
brave (—fine), 181. 
bravery (-finery), 165. 
breather, 177. 

breed (=bring up), 136, 165. 
brief, 192. 

bring out (—put out), 176. 
broke (=broken), 158. 
broken music, 143. 
brotherly (adverb), 140. 
brutish (sting), 164. 
buckles in, 172. 
bugle (adjective), 183. 
burghers, 152. 
bush (vintner's sign), 201. 
but (^without), 17c, 181. 
but erewhile. 160. 
butchery, 156. 
butterwomen's rank, 171. 
by ( — aside ^, 176. 
by and by, 192. 
by your patience, 201. 

cage of rushes, 177. 

cajling ( = appellation), 145. 

capable, 182. 

caparisoned, 175. 

capricious, 176. 

carlot, 184. 

cast (=cast off), 180. 



censure (=judgment), 184 

character (verb), 170. 

chase, 147. 

cheerly, 162. 

chid (past tense), 190. 

chopt, 158. 

cicatrice, 182. 

civil (=civilized), 172. 

clap into 't roundly, 195. 

clap o' the shoulder, 185. 

clubs, 194. 

cods. 159. 

combine (=bind\ 200. 

come in (=mtervene), 165. 

come off (=escape), 141. 

comfort, 162. 

commandment. 165. 

commission, 186. 

compact, 162. 

compact (accent), 196. 

conceit, 162, 194. ' 

condition (^temper), 1^6. 

conduct, in his own, 200. 

conference. 146. 

confines (accent), 152. 

conjure (accent), 201. 

conned, 176. 

consent and sufferance, 155 

constant (=faithful), 157. 

constant (=unitorm), 184. 

contents (accent', 189. 

contrive (=plot), 191. 

contriver, 139. 

conversed, 194. 

convertites, 201. 

cony. 177. 

cope, 155. 

copulatives, 197. 

cote (= cottage), 160. 

could, 145. 

countenance, 136. 

counter, 164. 

countercheck, 198- 

coursed, 153. 

courtship (= court life), 177. 

cousin, 147. 

cover ( = set the table), 161, 

covered goblet, 181. 

coz, 141. 

cross (=penny), 159. 

crow (= laugh), 163. 



206 



INDEX OF WORDS EXPLAINED. 



cry mercy, 183- 
curtle-axe, 149. 
curvets, 176. 

damnable, 194. 
dark (=in the dark), 182. 
dearly (=heartily), 147. 
deep-contemplative, 163. 
defied (=slighted), 202. 
Jesperate, 196. 
device, 140. 
dial (=watch), 163. 
Diana in the fountain, 186. 
dies and lives, 182. 
disable (^disparage), 185. 
dishonest ( = immodest ) , 

195- 
dislimn, 169. 
disputable, 161. 
diverted (blood), 157. 
do (idiomatic), 143. 
do him right, 165. 
dole, 143. 
doublet, 158. 
drave, 178. 

draw homewards, 192. 
ducdame, 161. 
duty (^respect), 195. 

east (^eastern), 171. 
eat (=eaten\ 165. 
effigies (accent), 169. 
embossed, 164. 
emulator, 139. 
enforcement, 166. 
engage (=pledge), 200. 
entame, 183. 
envenoms, 156. 
erewhile, 160, 184. 
erring (=:wandering), 172. 
estate (verb), 193. 
Ethiope, 189. 
every of, 200. 
exile (accent), 149. 
exiled (accent^ 200. 
expediently, 169. 
extent, 169. 
extermined, 183. 
extreme (accent), 154. 
extremity, in, 184. 
eyne, 189. 

fair (=fair one), 171. 
falcon, 180. 
fall to, 168. _ 
falls itransitive\ 181. 
false gallop, 171. 
fancy ( = love), 182, 200. 
fancy-monger, 177. 
fantasy (—love), 158. 
fashion sake, 176. 
favour '==face\ 141, jgp. 
feature, 179- 



feeder (=:shepherd), 160. 

fells, 170. 

female, 193. 

finish (intransitive), 199. 

first-born of Egypt, 161. 

fleet (transitive), 138. 

flout, 180. 

flux, 154. 

fond (=foolish), 155. 

fool, 151. 

fool's bolt, 197. 

for (=as regards), 192. 

for (=because), 172. 

for (—for want of), 159, 162, 

165- , 

forked heads, 152. 
foul (=plain), 179. 
frail' St, 182. 
free (=innocent), 165. 
friendly (adverb), 183. 
function (=office), 165. 
furnished, 176. 

gamester, 140. 

Gargantua, 175. 

gesture (=bearing), 194. 

giant-rude, 189. 

gilded, 191. 

go about, 140. 

go to, 186. 

goats (play upon), 179. 

God be wi' you, 176, 185. 

God 'ield you, 180. 

God rest you merry, 193. 

God warn us, 186. 

God ye good even, 193. 

golden world, 138- 

goldenly, 136. 

gondola, 185. 

good leave, 138. 

good my complexion, 175. 

good my liege, 147. 

grace, 183, 194. 

graces, 155. 

gracious, 144. 

graff, 171. 

gravelVed, 185. 

great reckoning, etc., 179. 

ground, 176. 

grow upon me, 137. 

had as lief, 139. 

had rather, 158. 

handkercher, 190, 193. 

hard-favoured, 179. 

have with you, 146. 

having (^possession), 178. 

he (=man), 178. 

headed, 164. 
I heart (play upon), 176. 
I him (=he whom), 136. 

hinds (—servants), 137. 
I his (=its), 168. 



holla, 176. 
holy bread, 180. 
honest (=chaste), 141, 179* 
hose (=breeches), 158. 
housewife, 141. 
huswife, 189. 
humorous, 146. 
hurthng, 191. 
hyen, 187. 

ill-favouredly, 141. 
ill-inhabited, 179. 
impressure, 182. 
in I duplicated), 166. 
in little, 172. 
in lieu of, 157. 
in parcels, 184. 
in that kind, 142. 
inaccessible, 166. 
incision, 170. 
incontinent, 194. 
inconvenient, 194. 
Jnd, 171. 
indented, 191. 
inland bred, 165. 
inquisition, 155. 
insrauate with, 201. 
insomuch, 194. 
instance (=proof), 170. 
instances, 167. 
instrument, 190. 
intendment, 139. 
Irish rat, 174. 
irks, 151. 

it is (contemptuous), 139. 
184. 

Jaques, 152. 
jars (= discords), 162. 
Jove's tree, 176. 
Judas's hair, 180. 
Juno's swans, 147. 
just (=just so), 176. 
justly, 145. 

kind (=:nature), 190. 
kindle (=incite), 140. 
kindled (=born), 177, 
knolled, 166. 

lack, 187. 

Lady Fortune, 162. 

laid on with a trowel, 143 

lay along, 152. 

learn ( — teach), 141. 

leer (=look), 185. 

lief, 139. 

like (=had like), 197. 

like (=^ likely), 141. 

liked (=pleased), 202. 

limned, 169. 

lined, 171. 

live i' the sun, to, 161. 



INDEX OP WORDS EXPLAINED. 



20; 



lively (=:lifelike), 196. 
liver, 179. 
living (=real\ 178. 
look (=look for), 161. 
loose (—-let fall', 184. 
lover (feminine), 181, 194. 
low (of stature), 190. 
lusty, 184, 188. 

make (=do\ 136, 155, 175. 

make (^earn), 190. 

make even, 196. 

make the doors, 186. 

manage (noun), 136. 

manners (play upon), 170. 

mannish, 149. 

marry, 136. 

material, 179. 

matter (=sense), iss- 

May, 186. 

measure (=dance), 197. 

medlar, 171. 

memory (^memorial), 155. 

merely, 179. 

mettle, 165. 

mewling, 167. 

might (=;may), 144. 

mines, 136. 

misconsters, 146. 

misprised, 140. 

misused, 187. 

modem {^trivial), 167, 185. 

moe, i-jd. 

moonish, 178. 

moial (verb), 163. 

moralize, 154. 

more sounder, 170. 

mortal (=very), 159. 

motley, 162. 

music (broken), 143. 

mutiny, 136. 

mutton (=sheep), 170. 

myself alone, 176. 

napkin (= handkerchief), 

190. 
native, 177. 
natural (—fool), 142. 
natural (^legitimate), 139. 
naught, 136, 142, 170. 
necessary, 179. 
needless ( = not needing), 

154- 
new-fallen, 201. 
new fangled, 186. 
nice (=affected), 185. 
nine days' wonder, 173. 
nor none. 141. 
nuptial, 194. 
nurture (^culture), 165. 

O sweet Oliver, 180. 
obscured (^hidden), 196. 



' observance, 176, 195. 
Od's my little life, 183. 
Od's my will, 189. 
of (=J3y), IS4, 177, 185. 
of (=in), 192. 
of might, 183. 
of (with verbals), 158. 
offer'st fairly, 200. 
on, 136, 162, 165. 
on my life, 146. 
on such a sudden, 146. 
only (transposed), 144, 195. 
out (—at a loss), 186. 
out of suits, 145. 
outface it, 149. 

pageant, 181. 

painted cloth, 176. 

pantaloon, 167. 

parlous, 170. 

parts (=gifts), 155. 

passing (adverb), 184. 

pathetical, 1S7. 

patience (trisyllable), 148. 

peascod, 159. 

peevish (—-silly), 184. 

perforce, 141. 

perpend, 170. 

persever, 193. 

petitionary, 175. 

Phebes (verb), 189. 

phoenix, 189. 

physic (verb), 138. 

pick-purse, 181. 

place, 156, 163. 

point-device, 178. 

poke ( = pocket), 163. 

politic, 185. 

pompous, 201. 

poverty (concrete), 147. 

power (=army), 200. 

practices (— plots\ 156. 

practise (intransitive), 140. 

presentation, 199. 

presently, 162. 

priser, 155. 

private (=lonel30, 170. 

private (—particular), 164. 

profit (=proficiency\ 136. 

promotion (quadrisyllable)j 

157- 
proper (=comely), 143. 
properer, 183. 
provide reflexive), 148. 
puisny, 181. 
purchase (=get), 177. 
pure. 141. 
purgation, 147. 
purlieus, 190. 
put on us, 143. 
Pythagoras, 174. 

quail, 155. 



question (=talk), 178, 181- 
quintain, 145. 
quintessence, 172. 
quip, 197. _ 
quit (reflexive), 169. 
quotidian, 177, 

ragged (=rough), 160. 
i railed on, 162. 

rank (play upon), 143. 

ranker, 186. 

rankness, 138. 

rascal, 179. 

raw (=green), 171. 
I reason of, 142. 

recks, 159. 
I recountments, 192. 
i recovered, 192. 
1 religious, 177. 

remembered, 168. 

remorse (=ipity), 147. 

removed (=retired), 177c'' 

render ( = descnbe', 191. 

render (^give back), 141, 
I resolve (:^ .solve), 176. 
I rest ( = remain), 146. 

right (=downright), 171. 

ring time, 196. 

ripe (= mature), 190. 

ripe (verb), 163. 

roynish, 155. 

sad (=serious), 175. 

sale-work, 183. 

sans, 163. 

sauce, 183. 

saws ( = maxims), 167, 183. 

scape, 171. 

"school ( = university), 136, 

scrip, 173. _ 

see (^perceive), 144. 

seeming 1 adverb), 197. 

se'nnight, 177. 

senseless, 164. 

sentence end, 172. 

sequestered, 152. 

seven ages of life, 166. 

shadow, 188. 

shall (:=must), 139. 

shame (intransitive), 192. 

she (:^ woman), 170. 

should, 173. 

shouldst (:=wouldst), 145. 

show (=appear), 148. 

shrewd (=evil), 200. 

simples, 185. 

simplv (=indeed), 178, 187. 

Sir. 180. 

sirrah, 192. 

smother (noun), 146. 

snake, 190. 

so (omitted), 143. 

so please you, 138, 144, 189. 



508 



INDEX OF WORDS EXPLAINED. 



solemn (=earnest), 158. 

some, 78. 

sooth, 178. 

sorts (==ranks), 140. 

south {=south wind), 183. 

South Sea of discovery, 175. 

speed ( = patron), 144. 

spheres (music of), 162. 

spken (=caprice), 188. 

squander, 164. ' 

stagger (—waver), 179. 

staiking-liorse, 199. 

stand with, 160. 

stanzo, 160. 

states (=estates), 200. 

stay (=wait for\ 175. 

stays (^detains), 136, 147. 

still (=constantly), 145, 170. 

still music, 199. 

sting, 164. 

stir '=excite\ 149. 

straight (adverb), 184. 

subject accent), 156. 

successfully, 144. 

sudden (=passionate), 167. 

suddenly, 155. 

sufficed, 166. 

suit me ( = dress myself), 

I49- 
suit (play upon), 163. 
sure i=surely\ 182. 
sure (=united), 199. 
swaggerer, i8g. 
swashing, 149. 
sv/eat past tense), 157. 
swift (=ready), 197. 
swom, 185. 
swore brothers, 199. 
synod, 173. 

ta'en up (—made up), 197. 
take a good heart, 192. 
take no scorn, 188. 



tapster (the word of a), 181. 
tax (=censure), 164, 177. 
taxation (^censure), 142. 
tempered, 141. 
tender dearly, 194. 
thither (=ithereto\ 140. 
thought ( = melancholy ) , 

188. 
thrasonical, 193. 
thrice-crowned, 169. 
thrifty (proleptic), 157. 
to (=with regard to), 191. 
toad-stone, 151. 
too late a week, 157. 
touches, 173. 
toward (=at hand), 197. 
traverse (^crosswise), 181. 
treasure (=enrich), 155. 
troth, by my, 142. 
trow, 174. 
turn (a note), 160. 
turn him going, 169. 
turn (=retum), 169. 
turned into, 189. 

unbashful, 157. 
uncouth, 162. 
unexpressive, 170. 
ungentleness, 194. 
unhandsome, 201. 
unkind, 168. 
unquestionable, 178. 
untreasured, 155. 
unto, 145. 
untuneable. 196. 
up intensive), 155. 
upon, 159, 166. 
use, 156. 

vein, 165. 
velvet, 154. 
vengeance, 189. 
verity, 181. 



villain, 137. 
voice, in my, 160. 

ware (=aware), 159. 
warp, 168. 

was (=has been), 186. 
waste (=spend), 160. 
weak (proleptic), 166. 
wear ( = dress), 163. 
wearing (=wearying), S5S, 
well breathed, 145. 
well said, 162. 
wert best, thou, 140. 
what, 139, 160, 181. 
wherein, 144, 175. 
while, the, 161. 
whiles, 166, 190. 
whooping, 175. 
wide-enlarged, 172. 
wind (=wend), 180. 
Wintei-'s sisterhood, 181. 
wiser (adverb), 159. 
wit, whither wilt? 142, i8y 
with (=for), 147. 
with (^^from), 175. 
withal, 139. 

woman of the world, 195. 
woo (regain over), 149. 
working, 144. 

working-day (adjective), 14* 
world (hyperbolical, 168. 
world (=times), 146. 
worms' -meat, 170. 
wrath (=ardor^ 194. 
wrestler (spelling), 138. 
wrestler (trisyllable), 155. 

year (plural), 177, 194. 

yond, 159. 

you expletive), 171. 

you (reflexive), 137. 

young, 137. 

your (colloquial), 180. 




JUIVSS 1905, 



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Neutralizing agent: Magnesium Oxide 
Treatment Date: Feb. 2009 

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